Susana Santos Silva's trumpet is raw and reverberant with moments of classical beauty, mixing primeval ritual and fragile oases of romance. A product of Porto's vibrant, self-created scene, her prolific output is finally reaching the UK with guest spots on recent Fire! Orchestra and Hedvig Mollestad records.

The equally seasoned Torbjorn Zetterberg, a Swedish bassist, beat a career crisis in a rural Buddhist retreat, and is the now Stockholm-based Silva's frequent musical partner. Their first duo album, Almost Tomorrow(2013), was an improvised response to its isolated Swedish mountain setting. This sequel uses Stockholm's St Peter's Church, much as Silva took on the echoing vastness of Lisbon's National Pantheon on her solo statement, All the Rivers (2018).

The insectile sound-bed of ‘Dreamers’, and subterranean, mournful echoes of ‘La Loge’, with Silva's trumpet both lachrymose and harsh, show the treated sounds found in this resonant, dolorous space. On ‘Ema’, Silva concisely builds a sense of liberation, even as Zetterberg's sheet-metal shiver and scrape slashes across the stereo spectrum, his bass denatured by astringent, industrial arco.

And yet at the climax of what seems a spiritual as much as musical search, ‘A Cry for Light’, his hard-struck strings vibrate with untreated, tactile power, suggesting Indian antiquity, as Silva's animalistic cries do a Viking hunter's halloo. On ‘Contemplating the One’, he stays static in intensifying contemplation, while she climbs ever higher, a pensive spiritual pioneer.

You could compare it to Albert Ayler's attempt to find pure humanity in untrammelled sound, an atavistic, abrasive avant-garde. Silva and Zetterberg too are digging beneath academic European jazz, improvising towards half-grasped meanings deep in the space, soil and soul.