The 14-headed ensemble around the bassist Victor Gelling has set itself the maxim not to research within idiomatics, but to address idiomatics itself as a playing field for musical and dramaturgical actions.
This creates a space, an entire universe, which in equal parts represents a staging. The free integration, playing and ultimately decomposing of musical idioms enables them to be reinterpreted in a wide variety of contexts, so that supposed opposites are interpreted rigidly as precisely these as coherent parts of a whole. Anarchy and humor are used for this, which re-examine compositional ideas and concepts within improvised passages.
If self-contained contexts of jazz, new music and popular music are otherwise kept within defined boundaries and tonal languages, they are deliberately broken at TPCM in order to open up new terrain and to play with these macro-technical forms. The text design also unfolds according to this principle, so that boundaries between indie rock, new music, recitation and Polish science fiction from the 1950s merge into one another and styles and languages, namely German, English, French and Spanish, interact fluidly. The ensemble demands freedom for the artwork. The complete destruction of expectation, so that the listener is inevitably constantly surprised.