The album consists of a mixture of live improvisation and set songs, including some sampled material from English musician Mick Lount.

In early 1996 Klaus Dinger and Michael Rother met in Düsseldorf to review their ongoing legal battle with Metronome Records for the rights to the three original Neu!

Metronome had offered to compromise with Dinger and Rother by giving the two musicians a sizable proportion of the profits made from a reissue of the albums and by financing promotional activities, possibly including a world tour.

Whilst Dinger was willing to accept this offer, Rother was more hesitant, still hoping to secure full ownership of the recordings.

and particularly with Michael Rother) had visited both venues as part of a world tour and produced the album Japan 1996 Live from the result.

Rather than back out of the conversations he was having with Tokyo and Osaka, Dinger decided to offer the services of a new group he had been building around Andreas Reihse of Kreidler and Victoria Wehrmeister of Superbilk.

In Germany he finalised the group's debut album Düsseldorf and prepared to take an extended 8-man line-up with him to Japan.

In the summer of 1996 Dinger was consumed with the organisation (by mail and fax) of an exhibition of his visual art in Auckland, New Zealand.

Kerry Aberhard - the curator of the art gallery and a fan of Dinger's work - offered to fly to Japan in advance of La!

The stage had a rope stretched at shoulder-height across it, from which hung Japanese drums and bells which Dinger played during the concert along with his guitar.

He was joined by drummers Thomas Klein and Markus Hofmann (both of Kreidler) as well as bassist and contrabassist Konstantin Wienstroer, guitarist Dirk Flader, vocalist Victoria Wehrmeister and keyboardists Andreas Reihse and Rembrandt Lensink.

Concert tickets bore the cryptic legend "Psychedelic Originators For Space Age Vol.

The album begins with a short sample of a conversation between Ken Matsutani and Klaus Dinger in transit from Osaka to Tokyo.

The concert proper begins with "Tension", a quiet track largely consisting of Rembrandt Lensink's keyboard improvisations.

The end of "Hero '96" segues into a lengthy jam called "East West Special", which includes complicated tape manipulation, so at times the song is playing over a recording of itself.