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Following the legendary first two, stoically super minimal records >SOG 1< and >SOG 2< that provide ecstasy disguised as boredom on Kompakt Extra/Speicher in 2007, and the outstanding beautifully bizarre >SOG - Abweichung< on Profan in 2010, we are now listening to >FREMDE HÄNDE<. Like its predecessors, this SOG stands in the tradition of >The Art of Omission< with Wolfgang Voigt variegating his preference for the bluntly straightforward quaver bass in two different forms. The A-side contains a tonally noncommittal sequence ambling across the keyboard in quantised form, reminiscing of the arpeggiator (accompaniment function) function of early 70ies and 80ies synthesizers. On the B-side, daring and thoroughly unquantised quaver rhythms rock around a bass drum that, as the only straight element, tries to keep the whole thing together. The result sounds a little like a delirious Can Live.