“Pilon goes electric!” So the headline should run for this fourth album from the Berklee College of Music alumnus, whose previous releases have tended to explore more acoustic moods. Here, by contrast, the guitarist has plunged into the sonic world of pedals and effects, creating aural environments that conjure the experiments of Herbie Hancock in his Headhunters phase and Miles’ electric fusionism. Not that it's a noisy album exactly, but it is alive with a certain liquid, groove-based dynamism. The tunes, all composed by Pilon, are performed by a basic, bassless trio: Tony Paeleman plays all manner of synthesisers and Fred Pasqua contributes energetic stick work. Both stretch out to make a joyfully splashy sound on ‘The Quiet Ones’ (is that title ironically intended, I'm wondering?), where they are joined by Seamus Blake on tenor sax. Blake and pianist Pierre de Bethmann augment the core trio on three and two tracks respectively to create an impressive eight-cut set.