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

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things: Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery. Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work: While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames. After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute: His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.

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

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things: Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery. Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work: While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames. After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute: His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things: Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery. Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work: While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames. After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute: His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.

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.