Schnell means ‘fast’, toll ‘amazing’ or ‘wild’, and meier, at a pinch, can mean ‘mayor’. This German-Swiss trio's punning on their surnames doesn't wholly describe a sound that's built, like so much current forward-looking jazz, on minimalist, pulsing grooves. The title-track does, though, show Schnellertollermeier's penchant for maximalist, thunderously intense constructions on these sober foundations. It soon veers off its groove's rails, rolling giddily forward under storm-clouds of guitar overtones, sparks flying as it burrows into a relentlessly thickening heart of darkness. Screeching to a halt halfway through its 13 minutes, the cymbals' breath-like shiver and sigh is rest-camp before a second climb, in which Troller's guitar bucks and whines like Nirvana. ‘Piccadilly Sources’ begins as moody electro-noir, breaks for brittle, skeletal guitar, then densifies into a vibrating, Kubrick-ian edifice, before the jagged stutter of a rock power-trio finish. Even the Zen calm at the start of ‘Praise/Eleven’ is slightly off, the almost regular rhythm hanging at a perceptible angle. The Stuka dive-bomber-siren guitars and rampaging drums at the climax of ‘Round’ meanwhile emphasise the sonic depth of an album mixed more like rock than jazz. The over-polite repetition that even their best UK peers such as GoGo Penguin can fall victim to is pounded by this post-Cobain attitude.