“Malik raps, Lorin scats”, says the press release. But it’s not so simple, especially if you’re familiar with the implausible jargon invented by Benedict, who came to our attention last year when reviewing Holly Martins’ No. No. Yes. No. on this same label. Without repeating all the praises, the guy’s an outstanding instant creator with his voice. Ameer is not your classic rapper, either: he delivers words with a mixture of theatrical distaste for hypothetical antagonists and orchestral experimentalism, also generating computerized beats and other assortments of energizing sounds to complement the vocal superimpositions. The couple has been collaborating for about a decade before releasing the first fruit of their improbable communion of interests. The stylistic disparity is stimulating: complex patchworks of texts and phonemic intricacies are designed upon techno pulses and more difficult metres, inserting quarter tones, looped clusters and absurdist glottolalia whenever this is felt as appropriate (“When It Reigns It Powers”, “Lookout For The Wolf” and “Buckwheat Passacaglia” being major demonstrations of compositional talent in that sense). On a slipshod listen you might get the feeling that the buddies were looking for sheer amusement, juxtaposing ideas to ultimately achieve a measure of untidy energy. On the contrary, this is carefully constructed music that reveals the finer details only when totally focussing on it; considering this work a mere divertissement would be wrong, even if the fun factor was unquestionably influential.