Recorded in Switzerland in 2009, the two lengthy tracks comprised by Intervals present exactly what is expected by artists (and percussionists) at the level of sensitiveness of Z’EV and Jason Kahn. The interest lies in observing how the numerical complexity of the former’s intuitions adapts to the latter’s trademark tolling pulses and near-subconscious droning, courtesy of analogue synthesis utilized together with the percussive arsenal. An imaginary parallelism might be that of the irrigation of a vast desert: as the rattling and scraping metals emerge from landscapes of skull-affecting frequencies and outlying laments – an impressive effect generated by drum-bowing practices – the contrast between the different styles becomes extremely gratifying to hear. The music is entirely paced along these coordinates; shocking appearances are virtually discarded in favour of an impartial exchange of fractional data. Moments of utter concentration are alternated with menacing growths towards a theoretical detonation. When the membrane-pounding electronic flux of Kahn’s synthesizer is barely rippled by Z’EV’s sparse hits at the end of “Lausanne” to introduce the majestic looks into nothingness of “Zurich”, this apparently simple juxtaposition’s gravity emerges as a sort of totalitarian pressure, just slightly lightened by fabulous bell-like resonances right before the record’s final minutes.