Thomas Lehn's collaboration with Urs Leimgruber comes out raw and sophisticated, distinct and obscure, rabid and proportional. This unified immersion is dissimulated precisely through the isolation and subsequent integration of its elements. Under this arrangement the duo bring out some crisp, delightfully textured ideas, all with contrastingly coarse and smooth surfaces, which in the mind become so many crystalline forms that are as conductive and lithe as ionized gas.

The first piece begins quite sparse but then grows more intense and volatile, with huge jangling sax clusters sounding aside Lehn's synth burbles as they eddy and fizz about. As it moves into a middle section, these sounds move away, but don't become exhausted, gathering instead into hazy new shapes and then spreading out again.

The duo seems to mirror this movement on a larger scale over the course of the next few tracks. "Deux and "Trois" are quite restrained, focusing on deep relations of hue, saturation and tone between tenor sax and synthesizer. In later moments, the music luxuriates in the bristling difference tones generated by discords, or from the harmonics arising from unison. All of these works display a diversity united by a sensitivity to sound texture and the situation of sounds in space. It's closed off well with "Cinque": Leimgruber's sax is riper and more linear than usual, conveying a clearer sense of mystery, underpinned by the fire-spittle of Lehn's synth.