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Lyrically, Skyzoo moves between observations from everyday life and references to hip hop tradition, with nostalgic samples and direct nods to his influences structuring the tracks. Concrete uses of samples, such as the Cortex loop on \"Long Money\" or the intro from \"Wild Style\" on \"For Real (er)\", underscore the deliberate connection to earlier sound sources. 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Yet here, they've reached full maturity. Rarely has a \"\"made in France\"\" dub album strayed so far from the Jamaican model while still harboring, in every detail, so many references and tributes to the inventors of the style (King Tubby \/ Lee Perry), as well as to many of the key figures in it's evolution (Tikiman \/ Rhythm \u0026amp; Sound, Dub Syndicate, etc.). The recording studio, 7\/11 Laboratory, is used here as a true musical instrument. The optimal use of three-dimensional stereo effects will immerse the listener in soundscapes ranging from classic space echoes and Mont Blanc tunnel-style reverberations to crackles, electronic interference, exogenous samples, and other parasitic noises coming straight from Babylon. For this album, continuing in the vein of his previous collaborations with the international dub scene (Zion Train, Alpha \u0026amp; Omega, Disciples, Spectre, Lab°...), Brain Damage traveled to London to record two tracks at Conscious Sounds Studio with Jamaican-born singer Tena Stelin. With the melancholic \"\"Spirit World,\"\" one is reminded of the fruitful collaborations between Massive Attack and Horace Andy, while on \"\"Genetic Weapon,\"\" the tone becomes more overtly assertive. 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Through these krautrock repetitions, the psychedelic experiments of Siam and Greg, sometimes joined by Frédéric D. Oberland, the group constructs songs that unfold through proliferation. Nervous drums propel the tracks forward while the guitars open up more ambiguous spaces, both abrasive and melodic. 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The album takes it's name from a small village in northern Germany where Vanoli stayed on writing retreats between 2018 and 2023. The forest, and long stretches of being alone in it, shaped how the music moves. Ventschau is an ode to that love of the forest - poetic and personal, with more room than before for melody, harmony, and song-like shapes. Mantra-like figures recur; on several pieces Vanoli sings softly into the strings, so breath, voice, and resonance carry as a single sound. At the core of the record are the \"\"blowing\"\" techniques Vanoli has been developing for years - sounds drawn from breath against the strings of a hyper amplified electric guitar, alongside the full range of artefacts and resonances such a guitar can be made to reveal, among them the voice itself, sung through the strings. This is the sound world of the instrument as he hears it, and it has kept opening since Bibrax. The spectrum of solo electric guitar widens further here as those techniques share the room with more conventional playing and a broader palette: a Fender Bass VI, a 12-string electric, and on one piece a steel-string acoustic.Some of the pieces lean into fragility and let it stay. Others are epic and densely detailed - wall-of-sound passages that move across the whole frequency range, from the high crispness of an insect world down to sub-low, earthquake-like rumble. All of it is made live, in real time, on a single guitar - which makes the comparison to a classical recital literal rather than figurative: technically, that's what it is.All the pieces are his, written across those five years, except \"\"Alti Plano,\"\" which draws on a traditional Bolivian melody. The record was made live to tape in May and August 2023 at Electric Monkey Studio in Zaandam, with Kasper Frenkel engineering. Almost everything is analogue, apart from a few pedals. 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