Like the Severn Bore, Langley's debut has been a long time coming, but, ye gods, it's spectacular now it's here. Edentide doesn't so much begin as arise from a great growling sea swell of brass and random percussion, much as Mike Gibbs could take the amorphous mass of his 1970s band and shape and round it to epic focus on songs like ‘So Long Gone’. Langley uses the studio to superb effect, creating a big band context from what is primarily himself multi-tracked. Throughout it all Fairbain's percussion rattles and shimmers, and, again, the marimba vibe is Gibbsian. The other golden thread lacing together Langley's moodscapes is Wall's harem of harps that add a needlepoint detail to Langley's Wheeler-esque meditations. It all climaxes with the wondrous title track that moves through an improv opening, dubbed effects and Mick's broken piano chords before resolving into an Eno-like theme that sets you drifting dream-like until mortality kicks in with a primal take on that eternal theme, ‘Crimond’. If Langley never makes another recording, he's already contributed hugely to the elusive magic that is contemporary British jazz.