It is a difficult task to narrow down Formen's work within the usual genre boundaries: The tracks on this EP range from downbeat clicks 'n' cuts, to dub techno, all the way to electro-noise. What gives the EP coherence despite this broad spectrum is its texture and raw approach, which is evident in the sound design and composition of the tracks - characteristics that provide a connection to Formen's older work.

The tracks on this EP have been produced using only hardware, with some instruments modified for each composition. The interaction of the instruments with each other and the resulting modulations create new timbres, the maintenance of which is a balancing act: Each reshaping of a single parameter produces changes in the timbres of the other instruments. The term "intermodulation", which originally describes the (unwanted) interaction between two signals in an electronic system, is understood here as a creative method: The elements in the studio influence each other in their frequency spectrum as well as their amplitude, creating new timbres, which are processed aesthetically.

Formen, who is a representative of analog dub mixing, has created all compositions as one-takes, using these intermodulations and malfunctions of his instruments as musical themes. The individual tracks draw on the genre expectations of the recipient, but subvert them through the use of evolving timbres, experimental spatiality and electronic saturation. As a result, Formen's EP moves between the reproduction of popular music and the exploration of electro-acoustic sounds, whereby established arrangements and motifs are deconstructed and sonically reassembled. The tracks are thus characterized less by their compositional subtleties or genre affiliation than by their sonic peculiarities.

The covers of the lathe cuts were created by Arthoss Iliph, a very reclusive photographer from Basel. He made a name for himself at a young age with large-format analog photographs, primarily dealing with the interaction of society, nature and architecture. For Formen's cover, however, he has chosen abstraction: For several years, he has been experimenting with silver gelatin photographic paper, which he processes with light and heat to create different color gradients, degrees of saturation and organic patterns. Using this method, he has produced 19 different covers, which differ greatly from one another in terms of their motifs, but can be understood as variations on the same concept. The artwork of the digital release is a modified high quality scan of #19 of these silver gelatin experiments.