Hampered by a lengthy delay, this sophomore set from one of the most original configurations in British jazz does not disappoint. As with its predecessor, 2011's The 11th Gate, the onus is on danceable but twister-like compositions as well as the exploration of those interesting fringe zones between the Hammond B-3 bass lines and the bottom end of the trombone, where the murky sounds are solid rather than overly dense. Crucially, Ross Stanley doesn't lay down chords that are so thick as to muffle the ensemble voice, though there is no denying that the little unit can generate real power at times. Adding to this in subtle but effective ways is Rollins’ electronics, occasionally unfurling slurred close harmonies into the mix to create a virtual brass choir. The full, brawny ensemble sound builds on the core elements of the previous release, with the spirits of Eddie Harris, in his offbeat funkiness and Larry Young, by way of fraught, sombre ambiences, floating around the arrangements to good effect. Of the original pieces, which are all collectively written, ‘Bakkra’, a short but devilishly sweet Afro-New Orleans jam that is not so much Congo square as circle, stands out while the take on Pink Floyd's ‘Money’ is winningly pithy.