It's big and brash and bold and balmy, pretentious, humourless and downright noisy: yet The Meridian Suite is just fab. Partly inspired by the movie Birdman, which Sanchez also scored, the ‘Suite’ is essentially one through-written piece of music, much like a film shot in a single take. Which makes it a pretty unrelenting hour of music but, hey, it's worth the effort. Sanchez's cause is helped by the presence of Blake and notably Escreet, two artists of an intensity and ball-breaking rigour who, once they have you in their sights, offer no release. Escreet does have a lyrical side of course, the chaos and howls of ‘Magnetic Currents’ gearing down to gently broken chords behind splashing cymbals, while the gentle opening to ‘Imaginary Lines’ provides a dynamic contrast to the introductory thunder of the ecstatically driven ‘Grid and Patterns’. When the man gits a little soul in that massive technique of his, Escreet is going to be some player. Soul is not what Blake lacks however, and it's his squally sax that keeps the epic scale of Sanchez's writing human, notably on the tsunami climax of ‘Pathways of The Mind’. Quite why Sanchez chose to recruit Roger's lairy guitar for the final big push is a mystery, but Alexa's ethereal vox is a masterstroke, eerily weaving between the sound and fury so favoured by Sanchez.