Whereas Lakomy's previous "electronics" albums are fairly accessible outings typical of the era, much of this album belongs in the experimental category. The first three minutes of "Gleichzeit" and much of "Klangzeit" resemble the abstract 60s/70s computer music of academia: atonal and sparse, dissonant harmonies, unusual timbres (done here mostly with DX7), devoid of conventional rhythms, and enormous dynamics. Such music is usually completely uncompromising and "challenging", but this album gets pulled in opposing directions: Each piece still goes into conventional music, often with jazzy solos and rhythms supplied by drum machines. "Ruhezeit" wouldn't sound out of place on an early '80s Tangerine Dream album. The contrast between the different styles is quite striking, and makes this album worth seeking out.