In this performance for CTM, Stefan Römer applies his deconstructive pursuit of minimalism and conceptualism to the historical pop narratives of the 1960s. The performance is divided into two parts: one focusing on the musician Syd Barrett and one focusing on the musican Conrad Schnitzler. In the context of a wider pop ideology, Barrett and Schnitzler symbolise failed musicians – both are known to only a small audience as inhabiting the "dark side" of the pop music realm because they didn’t meet the standards of commercial music, either because of their unwieldy artistic approaches or because of their psychological non-conformance.

Römer will use a quotation by Friedrich Kittler about Barrett and a quotation by Wolfgang Seidel about Schnitzler and his performances as a type of instructional score. The quotations will be projected in the background for both performances in both German and English.

Both Barrett and Schnitzler are said to have used the substance LSD during their concerts. Accordingly, Römer himself will try approach a similar state of consciousness. The performance will feature a minimalistic sound that emphasizes the themes of repetition and duration. The sound performance refers, in the case of Syd Barrett, to Terry Riley's "Mescaline Mix" (1960-1962) and Rhys Chatham's "Guitar Trio" (1977); and in the case of Conrad Schnitzler, to Schnitzler’s understanding of sound as an open experimental arrangement for which he accepted no compositional foundations.

Stefan Römer presents this performance as artistic-musical research in psychedelic sound studies, asking, "how do modes of performance and listening change under the influence of LSD?" Römer will be medically supervised during the performance.