A modern, urban building of glass and steel, lit electronically by alternating lamps bathing it partly in soft organic light, partly in hard, cold, flickering neon: if "Artefacts" was a building, this is how a synesthete might describe it. The second album from Lukas Schneider wanders from ambient to club-compatible, mixing with industrial, urban, and pop, all while retaining his own unique aesthetic. Somewhere in between haujobb, William Orbit and minimal electro, Auto Aggression have found their niche: "the building blocks for many tracks on "Artefacts" were just that: artifacts....sound fragments and debris generated by digital manipulation became the basis for their own tracks. "While the album contains the rich diversity of electronic structures for which Auto Aggression is known, this time the focus is more on the sounds, that is to say, on the surface structure of the tracks, which in turn evoke a range of emotions in the listener - which in turn become artifacts themselves. "Every form of manmade sound is actually an artifact, and so do these artifacts create certain emotions in the listener, although they were originally nothing more than digital byproducts," says Lukas about the album's underlying concept. But what sounds like musical chaos theory comes across as much more structured than you might expect. And unlike so many concept albums "Artefacts" proves itself to be not only a polished composition, but it seduces the listener with a danceable combination of sound, structure, and melody - much as a well-designed building marries form and function. Alongside mastermind Lukas Schneider, the album features guest vocals from Nives Garasevic as well as Eskil Simonsson of Covenant fame. Released on Dependent and available February 28th, 2007.