Is there beauty in what is threatening? With List, Senking introduces 40 minutes of the darkest matter and reckons, yes. He varies and experiments with a -- for Raster-Noton -- frightening diversity of sounds. He reveals the pieces as sound-collages, as quotes, which seem to refer to splatter movies and film noir. Following the tremendous plot of his endtime-subject, he persistently welds together sound spaces in order to compress them later into overwhelming drone-sounds. These as such, then go to serve a fundamental purpose -- as an environment for minimalistic themes and melodies, always to be driven by the ever present slow-beat of the pieces. Nonetheless, the syntax, the destiny of each single piece is highly varied and has the appearance of a much more mature composition, compared to his earlier works. Remarkably, the technical aspect does not take a leading role in Senking's anti-utopia visions. It's about substantial and age-old patterns, about impulses and the inevitable. Comparable to a tracking shot, the sound masses are flowing grey and drama-laden towards their final purpose -- seeming to follow the ductus of the opening piece -- let's go.