A year after Robin Felix took his electronic compositions for an escapade to West-Africa – Incantation (2025) – he has decided to follow up his first venture under the form of a hefty EP titled, Senselessness 2. That said, those who are now accustomed to his work, do know the the Swiss does not like to repeat himself ; there is always something “progressive” about his work, even if his cherished and modified field recordings still hold a place of choice. The beauty of Nature and its mysteries remain the quintessence his work. Right from the outset  of Serpentine – a cushy landscape evoking those of Harold Budd – is inhabited by a digital woodepecker and the chirping of a blackbird that Aphex Twin could have devised. They’re sharp, crisp and laid on basses that are deep, but never dominating. The listener’s pleasure lies in the details, which Metal confirms : if Lee Perry had considered entering the ambient realm, it would have sounded like this, if skewed by a twirling heartbeat which briefly sends back to a certain Dark Side Of The Moon and leads astutely to Zebra (Re-work) another way of exploring the spartan techno of Jeff Mills… but with digital cicadas. Side B starts with Big Foot. Its cinematic feel of a bent and wobbly landscape à la Christopher Nolan in Inception, turns almost menacing before it disappears like the Cheshire cat, leading the way to the pulse of Divine, an avatar of a drum’n’bass track, recorded both in the weightlessness of space and some dark forest. The tribal and almost shamanic drum beat of Nerves, its bass drone and return of the woodpecker, is clearly an invitation to let one’s mind to take a trip to Uluru, Africa, or both. Zebra closes the EP gently and smoothly, probably from the International Space Station. Meticulously, patiently, Robin Felix hones a peculiar form of IMDM (Intelligent Modern Dance Music), since with a little imagination, one could easily imagine a contemporary dance company set a choreography to it. PS : as usual, the best listen is on headphones.