Krüger's music can manifest as compositions with an enormous variety of structures and instrumental combinations, as multisensory blends of sound, image, and movement, or as pure electronics, or... – an aesthetic range reflected, at least partially, in the program of this album. But despite this heterogeneity that defies any conventional categorization, there are certain significant constants in Krüger's works. One of them is the physicality of their linguistic forms and a corresponding close link with the interpretive capabilities of their performers. He studies and redefines sounds, exploring physiognomies and contexts that were not yet part of his repertoire. The first piece for organ, "conTemp[s]lations," may seem out of place, but its expansive microtonality and unconventional coloring foreshadow Krüger's later electronic works such as "rosebud." Everything in this contemplative sound continuum is oriented towards fluid transformations of sound qualities and the relationships between timbral blends. The instrumental monologues and dialogues in "fuckin' A !," "renk," and "religieuse schauervoll einmalig blickt es mich an" are characterized by a high degree of density and kinetic energy. "rosebud," for dancer, motion sensors, and live electronics, was created at the famous IRCAM center in Paris in collaboration with dancer Victor Virnot, whose choreography is closely linked to the live electronic processes. During the development of the piece, each of the two levels influenced, even determined, the other, until "rosebud" finally reached its final and definitive form. The dancer embodies, so to speak, an "extended" musician – a hybrid of man and machine.