As practised by the Grateful Dead, Pink Floyd, Soft Machine or String Cheese Incident (other brands are available), psychedelic or space music can polarise. One listener's amorphous blancmange blob is another's cup of numinosity (and points between). Still, people say similar about jazz. Like psychotropic states, psychedelic/space music comes in many shapes, forms and guises. It can reveal or conceal. It can be arch and it can be playful. It can arc and, most assuredly, it should have visual qualities. If we're lucky, it gets as visual and characterful as Positively Space Music. This “new trio of old friends” bring pedigrees to the party with Pete Frame Family Tree propensities too complex to relate or narrate in a confined space. All three participated on Henry Kaiser & Wadada Leo Smith's Yo Miles! album – and there is the vibe that the 1988 Complete Bitches Brew Sessions box figured somewhere in their mind-melt listening habits. Bralove, Kaiser and Muir are out not only to find the poetic in the stardust and space dirt (Muir's solo live extemporised prelude ‘Fall From Grace’), but also to dish cosmic mirth (the 1977 Kaiser/Muir duet ‘Bagpipes’), typical of this truly characterful music. To summon Roger Wallis, Kaiser is more than well versed in big sounds from small peoples. It summons the impressionistic spirit of the Highland pipes the way Kaiser's occasional collaborator Richard Thompson did with acoustic guitar treatments of the Scottish dance master and musician Scott Skinner on Strict Tempo! (1981). Like Bitches Brew this music flashes with groove (‘Mire In The Fountain’ and contemplation (‘The Owl In Daylight’). Do do this at home or, better, live.