Eyeshutight's third album explores strong emotions with lucid control, and should substantially raise this Yorkshire piano trio's profile. The opening ‘Resonance’ runs through bassist-writer Paul Baxter's influences, adapting a riff from radical rockers Rage Against the Machine, and keeping track of its limpidly pretty melody even through distorted clangs and pianist Johnny Tomlinson's driving soul-jazz. Unhurried and uncluttered thought, sometimes lush harmonies and optimistic melodic upswings characterise Baxter's writing. ‘Addict’ typically isn't caged by its concept of a screen-displaced world, as bright piano spirals free of Kristoffer Wright's remorseless, computer-game-style drums. ‘The Precipice’ is the odd, ominous one out. Its volume gradually grows as in a nightmare, before worried bass-plucks and scrabbled piano build into a distorted groove that is left swinging between jittery hysteria and gloomy, pallbearer pacing. Tomlinson picks out the melody as if sliding slowly down a cliff, amidst bowed bass hums and time-bomb drum-ticks. It ends unresolved, the precipice still yawning. But it's followed by ‘T&C’, on which Baxter's warm solo is a musical ‘chin up’ to a hard-pressed acquaintance. ‘Hit & Hope’'s gospel-funk showcases a favourite Tomlinson style, giving pace and grit to music which is meditative at heart. Eyeshutight have found an admirably clear line between what they feel, think and play.