German composer Ekkehard Ehlers pushed the concept of the "remix" to another level. His Betrieb (Mille Plateaux, 2000) used samples of classical composers to build imposing claustrophobic sonic architectures.

The five tribute mini-albums Plays Robert Johnson, Plays Albert Ayler, Plays John Cassavetes, Plays Cornelius Cardew and Plays Hubert Fichte explored a samples-driven art reminiscent of Burroughs' cut-up. All five mini-albums were compiled on Plays (Staubgold). They boasted the melancholy pathos of romantic chamber music, halfway between oneiric jazztronica and acid dub.

Collaboration albums included: La Vie A' Noir (Mille Plateaux, 1999) with Autopoieses , Maerz (Karaoke Kalk, 2002) with Maerz, Heroin (Staalplaat, 2001) with Stephan Mathieu. All of them straddle the line between traditional electronic music and Oval-style glitch music.

He is also active as Auch, a more traditional dance project documented on Kiss Tomorrow Goodbye (2000).

Politik braucht keinen Feind (2003) refined his approach with a piece for manipulated bass clarinet, a piece for manipulated cello and a 22-minute piece for manipulated strings (Woolf Phrase). Given his role at the crossroad of chamber music a` la Schoenberg and digital soundsculpting a` la Pansonic, these pieces made him a natural purveyor of digital chamber music.

A Life Without Fear (2006) is a digital revision of blues music, obtained by manipulating the performances of a set of collaborators.

The 27-minute title piece of Adikia (Staubgold, 2012) featured Kai Fagaschinski (clarinet), Werner Dafeldecker (double bass), Paul Wirkus (percussion), Eva Reiter (viola da gamba, sub-contrabass recorder), Bjorn Gottstein (viola) and Todosch (vocals).