“No furniture”, created with sampler, computer, trumpet and clarinet, is a composition exuding intelligence. One can’t gauge its value simply by stating “I like/I don’t”; you just have to incline your sense of perception that necessary bit in order to experiment a powerful meltdown on yourself. The sounds generated by Baltschun, Dörner and Fagaschinski seem to have an ocular quality, like they were able to determine where YOU – as the listener – must stand and not viceversa; their total polivalence is the result of a pretty unique timbral research, even in this crowded field of “avant art”. The musicians are sound-engineering daydreamers, transforming ditchwaters into a sparkling farewell to normality; amalgamators of endangered ideas, they escape hermetisms keeping the same intensity level of a moving-coil mechanism. This music’s repassage through exhaustive analysis will guarantee its place among the most innovative exhibitions of indeterminate mastery. At the end of the day I still don’t know how to decipher and define the complex modules that form the music’s skeleton.