Saxophonist Otis Sandsjö, fellow Swede (and bass player) Petter Eldh and UK keyboard player Dan Nicholls make up the core trio at the heart of Sandsjö’s Berlin-based Y-OTIS project. It is, however, far from straightforward to pick them out in the welter of studio electronica and cascading structural ideas that defines their third album’s sound.

The music is intentionally puzzling, teased from a meltdown of tropes from jazz, groove and electronic dance music thrown together into what they have aptly called ‘layer caked liquid jazz’. Despite the relentless shifts and unlikely juxtapositions of electronic and acoustic sounds throughout, the results, while often playful and quirky, have a well-judged internal logic that shows a clarity of purpose behind all that hyperactivity. A track like 'LOOMY', for instance, gradually accretes sonic layers and variations to a simple, central melodic idea while restless drumming and free blowing saxophones above and below fail to dislodge it.

Similarly, sweeping harp phrases and a tight drum pulse run unperturbed through 'perla/moin' as scrabbling sax, haunting alto clarinet and keyboard outbursts loop in and out and Petter Eldh’s bass guitar erupts from its disciplined underpinning. Henrik Munkeby Nørstebø’s trombone provides the multi-tracked chorale to the restrained 'sol 94' while distant saxophones eventually collaborate to bring the tune to a hymn-like conclusion. It’s a calm interlude quickly swept away in the sonic scattershot of 'RHUBARBS' which follows. That said, there’s a conventional jazz number only slightly disguised in that track. It’s all fun stuff, albeit with a veneer of purposefulness – and what it lacks in melodic variety, it more than makes up for in musical imagination.