Strotter Inst. treats the turntable as a physical instrument rather than a playback device. For over two decades he has avoided using other people’s records—except when asked for remixes. With ENTORTUNG (“delocation”), following the album MISZELLEN, he makes a second exception: drawing stems and elements from classical composers and bending them—warping, eroding, abusing them—into new forms. Each of the three pieces bears the composer’s name and the title of the source work as an anagram. Conceptually you might expect something raw, razor-edged and purely analogue; instead the borders blur. Sources go uncredited and it’s hard to tell where the originals end and Strotter Inst.’s interventions begin. The palette folds in dark industrial synthwave, drone, noise, found sound and shades of ultra-slow techno. The prevailing mood is tense and ominous, yet spacious—a tightly unified continuum rather than discrete tracks. Originally created for the Lucerne Festival at KKL Lucerne and later shown at the Museum of Art Lucerne as a trio of video installations built from cut-up films rearranged by Strotter Inst., these works continue to circulate online.