Half of the tracks on this album are of MAX's live oratory, which I can only really judge on inflection (which is varied as MAX has a plethora of 'character' voices), and audience reaction which is positive & reflects the obvious humourous content of his words. The fact that do not speak more than a few words of German means I cannot give an accurate review of this side of his work. I can however judge his music, which I'll try to do below. On the first 'half' of the album appear two musical pieces - "Beginnmusik" which is a small, quiet little almost mechanical rhythm with bright synthetics layered over the top, and "Pausenmusik" which again uses light electronics, this time over a Rock'n'Roll piano rhythm while high tinkling sounds cascade around it. The second half of the album, entitled "Dann Jedoch" kicks off with the pulsating, varying "Monster Aus Jenger Glas" which is a sort of built up, deeper, more pulsating variation on the PAUL MERTON SHOW theme (okay, so only those in the UK will remember that) - a complex assembly of sampled odd vocal noises, added found sounds & other bits & bobs while the central theme makes a solid foundation for GOLDT's deep tones. "Welke Sonden Im Beamtenfell" again uses a building, pulsating rhythm upon which noises are built gradually in a sort of hot hypnotic minimalism. "Alte Framen Auf Dem" follows a very similar theme, while MAX half-whispers his words across the pulse. "Die Sweetheart - Girarre" again uses a constant thud-thud-thud rhythmic beat, this time mutated by distortion into a more rough sound. "Agentur Minerra Funkt, Diese Wüste "Sack" Du Nennen" again moves in a similar vein, an almost Ethnic Tribalistic sound which builds & builds, changing only slightly in it's sound journey. "Ohne Titel" closes the album, again constant beat holding the attention while minute changes happen within the half-hidden tune. MAX GOLDT has a curious style, his quirkiness deliberate rather than through his own personal limitations - anyone familiar with FOYER DES ARTS will know he can put music together & play damn well. An experimenter who overall chooses light, almost benign sounds rather than the usual clichéd darkness.Originally reviewed for Soft Watch.