Period instruments such as the traverso, the Baroque violin, the viola da gamba and the harpsichord offer an incredibly wide palette of new sound possibilities suited to contemporary ears. From the early 1960s an increasing number of postmodernist composers began looking at these instruments as perfect tools to reconnect with both their audience and the music traditions from the past. Contemporary experimental “effects”, through the use of extended techniques and electronics, are proven able to create a fruitful dialogue with the perennial “affects” that baroque instruments are capable of arousing. Affect is no Crime explores the heterogeneity of this new path, presenting 5 world premiere recordings of 5 works written for these 4 instruments from 5 celebrated living composers, from 5 different countries: from Anspielungen by H.M. Linde, an atonal patchwork enriched with baroque quotations, to the ironic and microtonal Tiet/Lots by J. Tiensuu; from the neo-impressionistic La Fenetre Ouverte by J. Fontyn to Revenant by J. Morlock, a modal and minimalist homage to Bach, passing through the experimental Sun Bleached with electronics, freshly commissioned from T. Polymeneas Liontiris.