In essence, Fifield’s assured performances on low whistle, Bulgarian kaval (end-blow flute) and various flavours of bagpipe and saxophone extend themselves above a choppy foundation from drummer Alyn Cosker and jazz guitarist Graeme Stephen, sometimes in a straight ahead common time, sometimes in a swaying seven or other Balkan influenced, time signature. The texture is enhanced by subtly layered keyboards, which support short phrases repeated again and again with differing rhythmic emphases, as on ‘Snakes Well’ or the breathless ‘Angels’. ‘Wrath and Love’ is a meditation of great beauty on a simple five-note saxophone phrase, eveidently derived from one of the masterpieces of classical Scots bagpipe music, which twists slowly above still chords, stuttering drums, and visceral bass. It’s the interplay between intellectual construction, fleeting modal improvisations and sheer emotional sensuality of the music that makes this such a satisfying, and strikingly unified, piece of work. ****