Since the debut of his great band Big Satan, saxophonist Tim Berne has created a series of bands (Bigger Satan, Quicksand, Science Friction and other groupings) using different configurations of the same small circle of players, including - for the first time in a long time - electric instruments. Science Friction is essentially Big Satan plus Craig Taborn, but the presence of Taborn's keyboards and electronics (he's credited here with "Rhodes, laptop, virtual organ and virtually") make it a very different band. While Big Satan stretched out in the remarkable soloing of Berne, guitarist Marc Ducret and Berne's longtime drummer Tom Rainey, Science Friction are claustrophobically tight and dense.

The Sublime and. was recorded live in Switzerland in April of 2003 on the last night of a three-week tour, and represents Berne at his best. It opens with a surprising moment of Threadgillia, but quickly extends into flowing searches. Only two of the six tracks spread over two discs are much under twenty minutes and they sound, as expertly mastered by David Torn, like the intersection of fields. Berne and Rainey have played together for so long that they are in perfect step, and Ducret and Taborn build dense walls of sound around, between and through them. It's difficult, except during solos, to seperate the electric guitar and the keyboards in the thick mix.

The solos, of course, are remarkable. Berne is mournful, blistering. Ducret is alternately melodic and explosive. Taborn is remarkably fluid and inventive and Rainey can turn on a dime, propelling the group's many inventions. The Sublime and. is a testament to the power of musicians who work continually with each other, building and exploiting a shared sensitivity.