"nature is a supermodel, full of beautyness and happiness". anthony rother’s fervently anticipated second album on his artistic platform, “datapunk”, founded three years ago, first of all puts us on a confrontation course with an apparent contradiction with the opener “nature”. can and is one allowed to compare the wild aesthetic of nature with the virtually fabricated beauty from the world of supermodels? and where do the psychoactive, rocking electric guitars actually come from? but have no fear; "super space model" is naturally above all one thing: the consistent further development of the successful album "popkiller" – which was predominately cultivated by rother in 2004 – with the reciprocal stimulation of techno and electro into a new hybrid, which has defined the global sound of the clubs in the last two years like nothing else. and whoever has followed this tonal development (at least in intonations) knows about the outstanding significance of rother’s works in general – and his datapunk label in particular – for the triumphant advance of electro under modernised signs. the eleven tracks from "super space model" emerged completely on analogous syntheses in a vast number of feverish nights during the past months, once again also an analogy to the notion of naturalness. “this time i deliberately decided in favour of analogue instruments during the selection of tonal means. of course, datapunk flirts with the idea of digitalisation as a notion, but the ‘punk’ ultimately stands above all for artistic freedom. this is also why i see no contradiction here. and at the same time “super space model” has become a good piece for me personally and also includes a considerable amount of musical experiences from recent years in the datapunk sound.” (a. rother)