With electictic instrumentation including a banjo and a diddley-bow (the primitive one-string contraption that sat at the heart of early blues), you might expect this session to be some kind of front-porch country-folk jam. You’d be wrong – unless the locale in question was famous for its backwoods psychedelics lab and experimental FM radio station. The opening title track announces the trio’s wayward intentions with Seabrook coaxing crystalline tones from the banjo with a bow before hunkering into crabbed, brittle fretwork full of crazed detail, while Cooper-Moore (usually known, of course, as a pianist) supplies a wonky, lumbering diddley-bow bass line and Cleaver rides an insistent rim-shot rhythm. Add clouds of rumbling electronics and we’re a long way from Kansas, Toto.

On ‘Vibrancy Yourself,’ Seabrook switches to electric guitar – treated with a weirdly muffled modulation – chopping out jagged gashes that lead the ‘bow and drums into a discordant, Beefheartian clatter. ‘Crepuscule of Cleaver’ digs even deeper, hocking up a sickly yellow puddle of robot vomit while the rhythm section flails in jerky, stop-start abandon. Proof, if any were needed, that all three musicians are among the most daring and versatile currently operating in creative music.