With »spielraum«, Lichtenberger seems to want to transpose the cubistic idea into the music world. Limited » ... and the true secret of their value is the sobriety, the austerity, of the living space they inhabit. it means that they do not simply occupy, visibly, the space they belong in, but have the scope to perform a variety of unforeseen functions which enables them constantly to surprise us anew. this is what makes them precious and elevates them above the level of a common object.« walter benjamin, spain 1932 grischa lichtenberger's new release »spielraum« is the first of three vinyl EPs to thematically accompany the 2-part album »la demeure; il y a péril en la demeure«. on »spielraum«, lichtenberger presents the elements introduced on the preceding album in a different context, but without defining them too precisely and breaking them down to only one dimension. freely adapted from walter benjamin, the tracks rather retain their surprising potential by playing with »a variety of unforeseen functions«. the openers of the A and B side, for example, could be interpreted as club tracks, but at the same time, through their complexity and intricacy, they are pushing the idea of a club track to its limits, question it and subversively work against it. with »spielraum«, lichtenberger seems to want to transpose the cubistic idea into the music world. his rhythms and melodic fragments often appear to be chopped, torn and viewed from different perspectives simultaneously. all tracks have in common that the constructed frame of the game is not played to the end. they rather try to preserve room for different scenarios of development – scopes for imagination –