Busted clockwork chimes begin a Marilyn Manson cover, ‘This Is The New Shit’, announcing the heavy rock textures of Vincent Peirani’s idiosyncratic first trio album. The Parisien-Peirani-Schaerer-Wollny record Out Of Land (2017), alongside other work with ACT labelmates Michael Wollny and Emile Parisien, showed his jazz axis, shared by promiscuously collaborative, very European musicians dissatisfied with sax, voice and piano’s conventional limits. Jokers is another push out into new terrain for his accordion, which is slinky and cinematic then twitchily staccato, as Federico Casagrande’s fuzz-chords power up.

The rock elements, and Casagrande’s solos, aren’t intrinsically interesting. More valuable is what they trigger in Peirani’s reconfigured instrument, further mutated by extensive mixing in his cellar during long lockdown hours. On ‘Salsa Fake’, it has an Eastern sound, followed by a coda of pure Parisienne noir, like Jean Gabin ploughing through the post-war fog. ‘River’’s industrial chain-gang rattle is all blues, Peirani’s rueful, harmonica-like accordion recalling Robbie Robertson’s Gallic-themed work on Scorsese’s The Irishman soundtrack. He shifts ground with every track: epic, speeding prog-electronica with divebombing synths on the Nine Inch Nails cover ‘Copy Of A’, the accordion duetting as both calliope and mellifluous, dancing blues harp in ‘Circus Of Light’. The closing ‘Nanna’ then strips away the rock tropes, picking up the ambient air and pressing of accordion keys in a stately, romantic lament, till those weird clockwork chimes return to end a movie by now cloaked in Nino Rota shadows. Not every sound rewards equally, but the broad world Peirani’s broached will bring its own rewards.