Live albums often major in mutual exhilaration. Martin Stender's fine Danish band's fifth album distils a subtler essence during three gigs in contrasting German venues. Only rousing applause adds to their music's innately intimate atmosphere, which two tracks recorded in the small wooden room of Dresden's retro East German club Ostpol capture well. Notes fade like ripples in a pool, then cymbals shiver in a building undertow, before keyboards press the tune forward, as one sax desperately squeals and another lyrically soars. The same horn settles into breathy introspection in ‘Episodes’, as the keys seem to emit a needle-sharp glow, like lasers piercing with pinprick precision. ‘Aeiki’ hangs in meditative suspension, ‘Vejviser’ is an elegy, and the meditative hush of ‘Need A Light’ can't hide an Afro-beat rhythm which ‘Adac’ makes more pronounced. As the saxes ghost into the foreground of the whispered start of ‘Migration’, becoming naggingly insistent as the drums build, Girls In Airport's live allure is clear. Delicate yet propulsive, they draw you in close.