In essence, Bjørn Sengschneider’s works deal with social, urban, cultural, individual and personal intersections: marginalized groups, urban peculiarities and local conditions are selected, re-arranged, mixed, mashed, overlaid, cut, and, thereby creating an own confronting and contrasting point of view. Music always plays the integral part, which on the content side, has a characteristic and identity-defining role, and on the formal level, plays an interrogating role of musical traditions. The works partly build on the “musique concrète and the methods of Luigi Russolo, and transfer the approaches superseded by “sound film” back to their original medium.