Cut Throat invites an expansive view of music; it follows the line of jazz as a raw roar of expression, but orbits indie rock and trance alongside unfettered improv. The trio unselfconsciously summon walls of sound with imposing reverberations of electric guitar, synthesiser, distortion and attitude.

Lara Jones' saxophone introduces a variety of characters to J Frisco's impressionistic plots. ‘Turn of the Fox’ fills every orifice with menacing pulls of electronic noise and pulsating keyboards. There's a ghostly vocal and Jones' animalistic squeals of soprano saxophone climb to a wrenching solo before the track passes like a train, into the distance.

The bond between Jemma Freese, Megan Roe and Jones is tangible. The way Roe hypnotically strums in ‘Blood Moon’ or soars into darkness while golden threads of saxophone longingly curl around her, tell a tale that is both melancholic and hopeful. It's here the possibility of J Frisco's sound is well-imagined, as is ‘Butterfly Wings’. This is a seductive piece about abusive relationships that reveals Freese's eerie singing talent, she is able to be strange and beautiful in the same moment.

It's reminiscent of J Frisco's excellent performance at the EFG London Jazz Festival last November. While sensitive, it lost none of the heat of this debut album.

The finale of the track ‘Craze’ is like the spouting of digital lava after a tense build up. An angelic wordless vocal, a slow marching of synth notes and grimy guitar introduce drama, but its the perfect shift in rhythm with Reese breaking into quick stabs that intensifies the piece. Throughout there are great plays on rhythm, the trio creating palpitations rooted in club music styles, insistent repetitions that create a vortex to get lost within.

J Frisco's rebellion is at its best when both primal and sophisticated, so the old school punk of ‘Do You Want’ can feel less effective, but, in the main their light touch, musical abilities and empathetic focus on the world around make J Frisco an exciting story to unfold.