Here’s a typical reason for maintaining this section of Touching Extremes. A few months back, FMP’s honcho Jost Gebers was so kind to send this CD from 2002, which was previously unknown to me. Immediately upon the first try I had to declare, once again, that for all those hundreds of records reviewed on a yearly basis there’s always something important that can’t elude the barriers of my ignorance. Ilinx was recorded in different circumstances between 2000 and 2001, both in live and studio settings. The instrumentation comprises electric guitar, sampler, alto sax, drums, percussion and electronics. This is one of the finest examples of EAI before the genre became fashionable (anathema!), a perfect amalgamation of original sources and modifications which sound like computer music at times, but with an acoustic feel that can almost be smelled. Manoeuvring their evident technical abilities in ways that range from the polite to the borderline, the musicians generate the disbandment of collective common sense while keeping in touch with a solid logic, driving the music across the most impervious unpredictability. A parapsychology of interdependence assisting the listener with spurts of elegant mayhem where the need to separate timbre from pulse, rhythm from counterpoint, is absent. A salubrious layering of instrumental redevelopment, building uncertainty through intelligence, demanding equal cleverness to be genuinely understood. Satisfactory expressiveness from any conceivable angle in an important “reference point” release.


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