The title refers to a city on the outskirts of Minneapolis, where all three of the musicians grew up and whose friendship reaches back to their 1980s adolescence. Given what they have achieved as bandleaders, and for King and Anderson, as members of The Bad Plus, it could be argued that this reunion has a supergroup appeal to it. Yet, in a pleasingly subversive manner, the combo is more of what is called a three-piece in rock than a trio in jazz. Solos are off any expected agenda. The songs, all by Anderson and King, are precisely that – a composition where the melody has primacy rather than being an ancillary springboard for grandstand ‘chops’. With influences spanning the more cultured end of 1990s synth-pop and sophisticated, orchestral electronica, as typified by Aphex Twin, the music carries the kind of sheen and shimmer one would attribute to any artists with a deep interest in both analogue and digital technology. Beyond the rich textural palette created, which is significantly enhanced by the almost tubular-like tones of some of Taborn's keys, there is a thread of intense melancholy running through the material, which at times vaguely recalls Anderson's The Vastness Of Space in terms of atmosphere rather than harmony. Crucially, the tracks are mostly of radio-friendly durations, underlining that the premise of the work is concision rather than expansion, which, either by accident or design, feeds into a lively debate on where pop ends and art starts. Or what to call composed music played by stellar improvisers whose mission is not to improvise. The quandary is interesting, but it should not deflect attention from the beauty of what they have actually created.