Apart from being the project name, the ‘A La Ping Pong’ phrase was what he called his tape delay system, which was in essence his variation on the Frippertonic system. Klaus Bloch went on to make two very different albums. The first featured a highly inventive music featuring more recognisably ‘Frippertonic’ style guitar looping and delays, with multi-tracking and electronics, often comparable to Manuel Gottsching’s echo and delay guitar work, early Heldon, or Camera Obscura.
Then, in contrast, PHASE II took a diversion to Kraftwerk styled electro-pop blending with Frippian touches, and is vastly inferior, despite aid from synthesist Hardy Kukuk. (from The Crack in the Cosmic Egg, by Alan and Steve Freeman, 1996)
Then, in contrast, PHASE II took a diversion to Kraftwerk styled electro-pop blending with Frippian touches, and is vastly inferior, despite aid from synthesist Hardy Kukuk. (from The Crack in the Cosmic Egg, by Alan and Steve Freeman, 1996)