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In conversations Delius often mumbles, he sometimes gets lost in anacoluthons, just to use very elaborate and eloquent constructions in the next sentences. Lillinger, on the other hand, is someone who talks very rapidly, his sentences ricochet through the air. He throws in ideas, interrupts his thoughts, turns in another direction, just to be absolutely precise within a second. As a drummer his style is incredibly inventive and unpredictable, it’s as if he was an electric toy which is wound up and cannot be stopped.
In their duo they combine Delius’ instant melodies with
Lillinger’s quick-witted responses, it’s a fascinating dialogue, a give and take that works in raucous and laid back moments. "Pea Jaw Zinc Zee", the longest track on Dicht (German for "tight"), is a good example of this. Delius plays chopped and blurred lines, he quotes Evan Parker motives and creates tender blues riffs, he interrupts, starts anew, tries something completely different, while Lillinger pushes him forward and forces him to zigzag with his phrases, click sounds and sparse notes. It’s as if they were eyeing each other. When Delius plays a swing riff in the middle of the track, Lillinger resigns attacking it and prefers to support it delicately. Only in the last few minutes they seem to agree out of the blue and tighten the reins. When the listener has just noticed that something has changed they stop the track track right in the middle.
Dicht is like a high speed conversation in different idioms. It’s fun to listen to it over and over again to discover Delius’ hidden references and just to acknowledge that Lillinger is the most interesting European drummer at the moment. - Martin Schray