Vocalist Phil Minton has one of the most easily recognisable repertoires of extended techniques in improvised music. He pulls out all his usual tricks here: multiphonic ghost-shrieks, toad-like croaks and creaks, monkey howls and gibberish glossolalia, all delivered with a cartoonish glee. Saxophonist John Butcher, too, has a firmly established dialect of drilling trills, glassy overtones and razored filaments that it would be easy to spot in an aural identity parade. However, when thrown into the crucible of spontaneous creation with American percussionist Gino Robair, both British players seem to step away from the familiar and generate sounds of much more uncertain provenance, as Robair deals in booming toms and gongs, the dry friction of rubbed drum skins and even sheets of electronically produced radio static and garbled snatches of voices. On the album's longest cut - the 10-minute ‘Sumptuous Disturbances (and a Carol)’ - the trio seem to find themselves on a phantom galleon crewed by irate ducks, searching plaintively for safe haven in a thick and menacing fog. We've all been there.