Yes dangles between curlicues of intellectualised sound-making and instinct. It nods to Stockhausen’s disrespect of rhythmic repetition, and the trance principles of post-dance culture, but ultimately is a spirited improvisation. Here the piano and guitar of brothers Ramon and Dominic Landolt, accompanied by the drums of Mario Hänni, surrender lead roles; they are only glimpsed in a wide-scape of electric noise, blips and rumbles. The effect often resembles a Doctor Who-style conflation of retro gadgetry, yet the album is clearly of now. It has ADHD, flicking from theme to rhythm to sound effect like a screen addict. Tufts of melody and threads of digital distortion are discarded – such curtailments become the trio’s screenplay, their story. A snippet of piano using the sustain pedal to assert itself, or silvery guitar slices and sweet xylophone are brain-breaks from the tangle of wires. ‘Silo Partikel’ is a highlight, redolent of Pink Floyd’s ‘On the Run’, before swelling itself with bass music and insistent off-beats. The drip drum drops that open ‘J’ are shockingly squished by afalling wall of dark piano, and it’s such surprises, along with the detail which these three interlocking musicians invent, that hold the attention.