What we know, for starters, is that she made this album immersed in a cinema of her own, curatorial creation. Its filmic quality is a direct consequence of her turning her studio into a screening room for classic works of New German Cinema, pulling influence from directors such as Helke Sander and Werner Schroeter. As she works, she absorbs, and Ou results from a conscious staging of this process. The impact can be felt both at the levels of surface and structure. While the sound quality reflects these evocative, multi-layered scenarios, the larger departure from any of her previous works is the album’s spatial, mix-like composition, with each track being made up of several companion titles.