For their second studio album, international free jazz quintet The End open with a cover of Melvin London's ‘It Hurts Me Too’, a blues ballad that was originally made famous by 1960s Greenwich Village folk singer and musician Karen Dalton. Sung here by Sofia Jernberg (in a style reminiscent of Patty Waters) it acts as a melancholic breather before the full force of the group weighs in – where her vocal range proves to be a major factor alongside the tempestuous squall of leader Mats Gustafsson's and Kjetil Møster's blaring saxophone salvos.

Particularly effective is Jernberg's presence on Møster's erratic composition ‘Intention And Release’ as she plants word extracts between the furrows of Gustaffson's yawping solo, which keeps breaking up like the signal of a badly tuned radio. This subtle blending of human and instrumental voices gives the music its serrated edge, where the abstracted vocal and the high-pitched horn reverberation temporarily lock together and become as one. This technique is equally effective on the soaring ‘Kråka. Rörde Sig Aldrig Mer.' two-parter, before firmly landing with a spirited version of Dewey Redman's ‘Imani’ from his neglected 1973 album Ear Of The Beholder. Allt Är Intet translates into English as ‘All Is Nothingness’, a bleakish sounding title that modestly belies the enormous amount of creative thought, energy and invention that The End have channelled into the project.