With his New History Warfare trilogy, released between 2007 and 2013, saxophonist Colin Stetson more or less established himself as the sole practitioner of his very own genre. Using a combination of circular breathing techniques, judiciously placed contact mics and unconventional vocalisations he creates hypnotic, organic, real-time loops on lower-register horns that envelope the listener in a fug of glowering gloom. In collaboration with violinist Sarah Neufield of indie outfit Arcade Fire (with whom Stetson has also worked), it's harder to make out the mechanics of what he's doing – the keypad pops and flutters and sharp inhalations that signal a man at work. Neufield's swooping, maudlin strings make for a smoother, far less visceral experience, with Stetson bobbing and weaving around the violin in muted, minimalist spirals. That said, there's certainly some innovative playing in evidence: on ‘With The Dark Hug Of Time’, Stetson weaves didgeridoo-like shriek-backs and a tongue-clicking bass thump into a doom-laden riff; and on ‘The Rest Of Us’ he builds an industrial, percussive throb. It's clever, sure – but if you wanted to listen to unremarkable dance music, surely you'd just go out and buy some?