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Electronic experimentalist Holger Hiller departed from the band <a href="spotify:artist:29VcQUPD3y6atruSOiNEbL">Palais Schaumburg</a> in the early '80s and embarked on a solo career. 1984's A Bunch of Foulness in the Pit established his basic approach of combining keyboard lines with assorted odd sounds, and tense, clattering percussion. 1986's Oben im Eck was a slightly revamped version of the earlier Hyperprism; it featured Hiller exploiting new sampling technology to its fullest behind a band including vocalists Billy McKenzie and Kaori Kano, and keyboardist <a href="spotify:artist:4kwgB87kGhDP67rNy2t9tP">Izumi Kobayashi</a>. After laying low for quite some time, save occasional mixing and editing work for artists like <a href="spotify:artist:762310PdDnwsDxAQxzQkfX">Depeche Mode</a>, Hiller returned with a vengeance in the mid-'90s, issuing Little Present in 1995 and following it with a total of five singles in 1996, plus the Demixed collection. A self-titled release followed in fall 2000. ~ Steve Huey, Rovi
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