Eddie Prévost's belief in improvisation's mysteries and social implications was forged in 1965 with AMM, a group inevitably riven with Maoist cliques and splits over time. His London improv workshops and elder's presence at Cafe OTO have sustained his inspirational influence, as evidenced here by an earnest, younger disciple, guitarist NO Moore, alongside New London Jazz lynchpin Binker Golding. This album was a few spontaneous hours' work on the day of the first tentative lockdown, with On the Corner as a rough sonic template. The brimstone atmosphere of 1970s Miles certainly infects ‘Door 1', as fuzzed-up guitar electronica spits and fizzes, emitting savage, whiplash whines. Twin guitars also allow feedback as a jagged, crackling aura around more conventional playing, Hendrix's overdriven thrills still haunting the avant-garde. Golding, though, notably finds a space for melodic, modal improv, as well as a spidery solo as the collective shift into super-fast funk. ‘Door 2' prefers lunar spookiness and tolling echoes, Golding again building his own solid ground, sympathetically shadowed by Olie Brice's bass. Individual players explode into life as if triggered by the prevailing mood, Prévost's latest experiment in human interaction perhaps proving something. After 40 minutes, though, initially exciting musical results are, at best, inconclusive.