As a band that has plotted its own singular course for several decades there is a certain expectation that comes with each release by this Australian trio. It has its sound, language and ethos. Whether or not this latest set of songs has been purely improvised or composed is not a fruitless debate to hold, but it is not as important as the specific concept of the presentation. The four pieces spread over two vinyl albums are not numbered, hence the listener decides the running order, and any narrative that emerges is according to the whim of the audience rather than the preset design of the band. Yet there is largely a consistency of tempo and texture, however the tracks are selected. The bridge between an early 1970s Alice Coltrane-Pharoah vocabulary in which jangling bells and sweeping drones are prominent and a low tempo Ethiopiques sound full of piercing synth lines is well built. The Necks' patented approach of addition-subtraction-distortion of layers of audio is as effective as ever but this music is more distilled and warmer than recent efforts. The afterglow of Abrahams' keys and the cut and thrust of Swanton's bowing are notable constituent parts of an interesting new window into the band's evolving musical architecture.