In his famous journal, the 14th century Moroccan scholar and explorer, Ibn Battuta, relates how, on hearing the bells of a Christian church for the first time, he was thrown into a startled panic. Indeed, for most of us who've grown up hearing thunderous peals routinely emanating from churches, it's hard to grasp objectively what an amazingly complex and beautiful sound the bells make.

But Andrew Woodhead's compositions, recorded at St Paul's Church, Birmingham, might help. Using a mixture of notated charts and improvisation from graphic scores, two trumpets, two alto saxophones and two baritone saxophones explore various different ways of interacting with a team of bellringers in full flow, while Woodhead adds electronic embellishment and fleeting snippets of field recordings of bicycle bells, ice cream van chimes and so on. Heard as a musical phenomenon, campanology clearly overlaps with the processes of American minimalism, most obviously on the album's longest track, ‘Tolls/Waves,’ as the bells’ multiple cycles slowly resolve into one simultaneous bong. But it's when complexity is embraced that the music is most moving, as on the 10-minute ‘Changes’ where the bubbling horns merge with eternally tumbling bells for a truly joyous sound.