When you are listening to his pieces and are completely at ease, they offer the listener the beauty of pure sound: I believe this also applies to his likeminded friends. Even when and if they are of a continuous narrative type, they just create the right situation to listen to sounds. As the title reveals: Painted cakes are real, too. The beautiful sounds are repeated in order to remain purely sound. This repetition does not build up a narrative, it becomes more complicated and excited not in order to entertain the listener, but in order to analyze and deepen the sound. The section before the last one with its repeated interval is the very revelation. It reminds me of the stories Cage loved so much, with as ultimate moment not a further conclusion but a fresh naked statement. This section is like the acoustical harmonies of a bell. The whole piece, in its proportions, becomes something resembling a gigantic or a microscopic analysis of one single bell-sound. A painted bell of course, which is real, too. (Boudewijn Buckinx)