Canadian-born Londoner Phelps doesn't broaden his horizons into hip hop and soul as much as this album's vocoder-brushed opener ‘Everyone's Ethnic’ and Ropeadope home would suggest. They are more a layer of atmosphere and underlying thought than the overt hybrid dug by London's new breed. His bandmate in Empirical's early days, Shane Forbes, does provide intriguingly broken beats on Outkast cover ‘Spread’, but even here Phelps’ trumpet is the calm eye of a quiet jazz storm. The warm bop tone familiar from his year running Ronnie's Late Show, and a taste for bossa nova, are the defining elements of a balmy record whose tracks unwind at leisurely length. The way a Phelps note painlessly pierces during ‘L.S.G. (Love So Good)’ defines his art. ‘Amphrite's Freedom’ sees his muted introspection bloom into a more typically open-armed solo, amid summer's-day gospel-soul, and echoes of his Jazz Jamaica service in its Caribbean shuffle. ‘Chaos or Commerce’ samples MLK and Bob Marley, but is as notable for the skitters and stabs of pianist John Escreet striking throughout. It makes her “proud to be British”, one female musician laughs between takes. The amiable harmony between diverse players on music Phelps mostly wrote in Thailand is certainly, like his London life, a bouquet to pre-Brexit openness. It's perhaps too softhearted for those wanting sharper sensations.