Annika Ström's songs, text pieces and films all touch on the question of inadequacy – if not miserable failure. The content and aesthetics repeatedly play with the notion of imperfection. Ström's text pieces are clearly hand painted, the videos include shaky, blurred images, and her rhythm-box compositions flirt with an amateurish Eurovision aesthetic. Her relationship with the means of production is calculated to form an inherent problem between technologies or tools and her own manufacture.