System Requirements:

OS: XP, Vista, Windows 7
Processor: 1.6 Ghz
Memory: 2 GB RAM
Graphics: 256MB
Hard Drive: 400 MB available space

Steam key will be provided when the game is released onto Steam.

System Requirements:

OS: XP, Vista, Windows 7
Processor: 1.6 Ghz
Memory: 2 GB RAM
Graphics: 256MB
Hard Drive: 200 MB available space

System Requirements:

OS: windows 7
Processor: 2.33GHz or faster x86-compatible processor, or Intel Atom™
Memory: 1 GB RAM
Hard Drive: 90 MB available space

System Requirements:

Windows XP / Vista / 7 / OS X Leopard 10.7 / Ubuntu 14.04 LTS
Processor: 1.0 GHz Processor
Memory: 512 MB RAM
Graphics: 100% DirectX compatible graphics
Hard Drive: 700 MB available space
Sound Card: 100% DirectX compatible card or onboard sound

Remute is not just the owner of the www-domain ‘Techno.xxx’, but also for sure one of the most productive, energetic and eclectic protagonists of this genre: Since his teenage days the Belgrade-born producer released his music on legendary record-labels like Tresor, Traum, Ladomat or Bedrock and sharpened his reputation as a creator of unconventional, but sure-shot-dancefloor-fillers! Besides countless worldwide gigs at festivals, raves and cult-clubs like Berghain, he is also a very well-known and popular remixer for artists like Kid Alex aka Boys Noize, GusGus, Justin Robertson, Daniel Avery or Solomun; furthermore he is still the world record holder concerning the longest remix (60 minutes of pure acid-madness for ‘Oculus’ from Iceland!) in dance-music-history. His own productions got remixed by artists like Paul Kalkbrenner, DJ Rush, Snuff Crew or Legowelt. Remute had his final breakthrough in 2008 when he launched his own, self-titled, label ‘Remute’ : Its first release ‘Zuendli’ triggered an unprecedented wave of techno-euphoria and the catchy, thrilling helicopter-sounds caused clubber’s jaw clenching and teeth grinding for many years. More distinctive releases followed in the 2010s like ‘The Orgy’ (including a sample of his own blood with each of the limited album editions), ‘Cowbell Mania’, ‘‘Lampuca For Me’ (thanks to Erol Alkan’s heavy support on BBC a massive genre-bending hit) or his 2013 album ‘Theme Tunes For 10 Games Never Made’ which successfully built an overdue bridge between videogaming and clubbing (just listen to its lead-track ‘Gravity?’) and made Remute tour the world with synth-modified gameconsoles and Commodore Amiga homecomputers… His probably most ambitious opus is called ‘REMUTE24’ and is a neverending weekly series of songs linked to news-headlines and zeitgeist: Danceable stories and rhythmic coded messages about week’s hot topics, moods and events - always 100% unpredictable. In late 2014 he once more proved his versatility and released a quasi-official, let’s say fan-made, ‘speculative mixtape’-album via the US-synthwave-label Telefuture called ‘Yoshiwara’ which tries to provide a retro-futuristic electronic soundtrack to the infamous nightclub of the same name from the pioneering SciFi-movie ‘Metropolis’ - the mediator between brain and hands has to be the heart. In 2016 he released his, entirely crowd-funded, new album ‘Play The Game’ which features collaborations with Shinichi Osawa, Lil’ Fang and Plavka and is his most catchy work so far.

System Requirements:

• Microsoft® Windows Server 2008, Windows 7, or Windows 8
  Classic
  - 2.33GHz or faster x86-compatible processor, or Intel Atom™ 1.6GHz or faster processor
  - 512MB of RAM (1GB recommended)
  - Mouse and keyboard

Remute is not just the owner of the www-domain ‘Techno.xxx’, but also for sure one of the most productive, energetic and eclectic protagonists of this genre: Since his teenage days the Belgrade-born producer released his music on legendary record-labels like Tresor, Traum, Ladomat or Bedrock and sharpened his reputation as a creator of unconventional, but sure-shot-dancefloor-fillers! Besides countless worldwide gigs at festivals, raves and cult-clubs like Berghain, he is also a very well-known and popular remixer for artists like Kid Alex aka Boys Noize, GusGus, Justin Robertson, Daniel Avery or Solomun; furthermore he is still the world record holder concerning the longest remix (60 minutes of pure acid-madness for ‘Oculus’ from Iceland!) in dance-music-history. His own productions got remixed by artists like Paul Kalkbrenner, DJ Rush, Snuff Crew or Legowelt. Remute had his final breakthrough in 2008 when he launched his own, self-titled, label ‘Remute’ : Its first release ‘Zuendli’ triggered an unprecedented wave of techno-euphoria and the catchy, thrilling helicopter-sounds caused clubber’s jaw clenching and teeth grinding for many years. More distinctive releases followed in the 2010s like ‘The Orgy’ (including a sample of his own blood with each of the limited album editions), ‘Cowbell Mania’, ‘‘Lampuca For Me’ (thanks to Erol Alkan’s heavy support on BBC a massive genre-bending hit) or his 2013 album ‘Theme Tunes For 10 Games Never Made’ which successfully built an overdue bridge between videogaming and clubbing (just listen to its lead-track ‘Gravity?’) and made Remute tour the world with synth-modified gameconsoles and Commodore Amiga homecomputers… His probably most ambitious opus is called ‘REMUTE24’ and is a neverending weekly series of songs linked to news-headlines and zeitgeist: Danceable stories and rhythmic coded messages about week’s hot topics, moods and events - always 100% unpredictable. In late 2014 he once more proved his versatility and released a quasi-official, let’s say fan-made, ‘speculative mixtape’-album via the US-synthwave-label Telefuture called ‘Yoshiwara’ which tries to provide a retro-futuristic electronic soundtrack to the infamous nightclub of the same name from the pioneering SciFi-movie ‘Metropolis’ - the mediator between brain and hands has to be the heart. In 2016 he released his, entirely crowd-funded, new album ‘Play The Game’ which features collaborations with Shinichi Osawa, Lil’ Fang and Plavka and is his most catchy work so far.

Remute is not just the owner of the www-domain ‘Techno.xxx’, but also for sure one of the most productive, energetic and eclectic protagonists of this genre: Since his teenage days the Belgrade-born producer released his music on legendary record-labels like Tresor, Traum, Ladomat or Bedrock and sharpened his reputation as a creator of unconventional, but sure-shot-dancefloor-fillers! Besides countless worldwide gigs at festivals, raves and cult-clubs like Berghain, he is also a very well-known and popular remixer for artists like Kid Alex aka Boys Noize, GusGus, Justin Robertson, Daniel Avery or Solomun; furthermore he is still the world record holder concerning the longest remix (60 minutes of pure acid-madness for ‘Oculus’ from Iceland!) in dance-music-history. His own productions got remixed by artists like Paul Kalkbrenner, DJ Rush, Snuff Crew or Legowelt. Remute had his final breakthrough in 2008 when he launched his own, self-titled, label ‘Remute’ : Its first release ‘Zuendli’ triggered an unprecedented wave of techno-euphoria and the catchy, thrilling helicopter-sounds caused clubber’s jaw clenching and teeth grinding for many years. More distinctive releases followed in the 2010s like ‘The Orgy’ (including a sample of his own blood with each of the limited album editions), ‘Cowbell Mania’, ‘‘Lampuca For Me’ (thanks to Erol Alkan’s heavy support on BBC a massive genre-bending hit) or his 2013 album ‘Theme Tunes For 10 Games Never Made’ which successfully built an overdue bridge between videogaming and clubbing (just listen to its lead-track ‘Gravity?’) and made Remute tour the world with synth-modified gameconsoles and Commodore Amiga homecomputers… His probably most ambitious opus is called ‘REMUTE24’ and is a neverending weekly series of songs linked to news-headlines and zeitgeist: Danceable stories and rhythmic coded messages about week’s hot topics, moods and events - always 100% unpredictable. In late 2014 he once more proved his versatility and released a quasi-official, let’s say fan-made, ‘speculative mixtape’-album via the US-synthwave-label Telefuture called ‘Yoshiwara’ which tries to provide a retro-futuristic electronic soundtrack to the infamous nightclub of the same name from the pioneering SciFi-movie ‘Metropolis’ - the mediator between brain and hands has to be the heart. In 2016 he released his, entirely crowd-funded, new album ‘Play The Game’ which features collaborations with Shinichi Osawa, Lil’ Fang and Plavka and is his most catchy work so far.

System Requirements:

OS: Windows 7/8/8.1/10.9
Processor: 2.0 GHz
Memory: 2000 MB RAM
Graphics: NVIDIA GeForce GT 240 (or better)
DirectX: Version 10
Hard Drive: 1 GB available space

System Requirements:

OS: Windows 8 / 7 / Vista / XP
Processor: Pentium 800 Mhz or higher
Memory: 512 MB RAM
Graphics: SVGA video card capable of 1024x768 and 24-bit color
Hard Drive: 1 GB available space
Sound Card: 100% compatible Windows® 16-bit sound card and drivers

System Requirements:

OS: XP, Vista, Windows 7
Processor: 1.6 Ghz
Memory: 2 GB RAM
Graphics: 256MB
Hard Drive: 800 MB available space

Steam key will be provided once the game is released onto Steam.

Chris Huelsbeck is an award winning composer and sound designer working mainly in the video games industry for well over 25 years. Having provided high quality music and sound for over 80 projects, Chris made himself a name not only with the fans, but also as a trusted contractor. He creates very memorable music ranging from elaborate electronic compositions to full orchestral scores as well as many other music styles. Credits include projects like the Star Wars Rogue Squadron Series, Turrican, Tunnel B1, Extreme Assault, War of the Worlds, Doctor Who: Legacy and Symphonic Shades, a 70 minute full orchestral concert and CD release covering Huelsbeck’s work of more than 25 years. His latest achievement is one of the highest funded music Kickstarter campaigns in recent history for his Turrican Soundtrack Anthology Project, which was extremely well received by his fans and won the best compilation soundtrack award on vgmonline.net.

Born 1968 in Kassel / Germany, Chris Huelsbeck found himself dedicated to music at a very young age and started piano lessons with his Grandmother, a well respected piano teacher. Soon he composed his first original music pieces. At age 14 he acquired his first computer, the legendary Commodore 64, and started to learn various programming languages while still playing and composing music. A few years later he won the first prize in a computer-music contest hosted by a famous German computer magazine. This was the beginning of his career as a professional composer for computer and video game soundtracks. Always set on pushing the envelope, Chris has established himself as a steady force in Video Game Audio.

Chris Huelsbeck currently lives near San Francisco with his wife and 2 fluffy cats.

Goto80 is a Swedish old media artist and researcher who works with music and text. He was one of the pioneers of the new 8-bit music movement in the 1990s and now makes music for performances and records, games, demos, movies and art projects. His music is like a low-res explosion of styles, influenced by equal amounts of high-brow jazz/IDM and silly pop culture. He’s been seen on childrens TV singing falsetto as a salad man, giving theoretical talks on 8-bit culture and creativity, performed a musical together with a jazz band, released music in cheese burgers, and opened the notorious art festival Transmediale with a fax performance. To name just a few things. His work is often described as a “misuse of dead technologies” but he doesn’t agree with that. Goto80 prefers to see old technologies as very much alive. After all, they still work great unlike your 5-year-old smartphone. And the symbiosis between user and 8-bit machine is like a leap into the unknown, while modern tools are often a straight path into the predictable. So he encourages to normalize the behaviour of the Turing complete user rather than that of the modern consumer. This attitude comes from a long schooling of creative hacking and free distribution in the 8-bit demoscene, and a strong interest in media materialism as developed in his master thesis on chipmusic. Goto80 has an unhealthy obsession of doing things the wrong way. In the 1990′s he insisted on doing broken music for the perfectionist hacker demoscene. For his first solo live show at a local rave he was kicked off the stage. More recently he decided to quit Facebook in protest, despite fans begging him to stay. He’s made several releases that are almost impossible to get hold.