We hear something previously unheard on FORMEN, because this music is permeable, porous open in all directions, capable of combining, because it is music of the imagination. Therefore possible poetry and the music actually pressed on the record have the potential to function together perfectly. The only familiar sound is the brute force of the registers on Joachim Irmler's organ. On the albums that preceded FORMEN we heard Irmler's organ in conjunction with the improvisations and grooves of drummers like Gudrun Gut, Jaki Liebezeit or FM Einheit. Carl Oesterhelt, on the other hand, who we know as drummer of Freiwillige Selbstkontrolle and as a member of the Tied + Tickled Trio, avoided the obvious. We hardly ever hear him play the drums on FORMEN. Instead, we hear a string quartet, as well as a pairing of instruments that was prohibited in music for centuries: Piano vs. Organ. Over a period of twelve months, Irmler and Oesterhelt met repeatedly for two or three days at a time. They rarely jammed. It was always more about eating and talking, also about strategies and concepts in music and how to keep them in check, so that they do not begin to overshadow the music. In this sense, as the result of those conversations in the kitchen, FORMEN has become an album whose protagonists have listened to each other and the listener explicitly becomes an audience. It is not an album that follows the core ideas of electronic music, like its predecessors, but rather one that approaches the principles of New Music. Of course, in contrast to most of the New Music of our time, the (romantic) melody, even in its deconstruction, plays a major role. Here, melody is embraced.