Recorded between 1983 and 1991, DWW contains some of the finest material devised by the former Heldon leader since that band's "demise." All that is Pinhas is here in its glory: guitars soldered with "Terminator" steel, coruscating electronics, and sequencers that tear electrons from their molecular womb. This is a music that uses King Crimson circa 1974 as its template and couches its aural metaphors in a tapestry of post-Philip K. Dick mind blasts and William Gibson-fused cyberpunk. In fact, DWW bases no less than four tracks on Dick's brilliant reality-challenged work "Ubik." DWW's sonic equivalent is a thundering barrage of psychological electro-freakout and Klaus Schulze-ian sequencer demigogy mummified in galvanized chrome. "The Joe Chip Song," a sparkling "ballad" in four movements, captures every bit of the poignant irony of "Ubik'"s central protagonist. "A Piece for Lulu" is stormy techno-rock, with Pinhas sending guitars rippling through sheets of icy rhythms and spinning heavy elements. Then we are propelled deep into space, amid weepy synths, via "1992 Iceland: The Fall." Pinhas continues to be blessedly relevant despite being a maverick and a veritable unknown outside the "prog/electronic" cognoscenti. His audio documents should weather the vagaries of time.