This EP companion to Trust in the Lifeforce of the Deep Mystery comes from the same sessions, and expands on the apocalyptic Comet mythos. In ‘All That Matters is the Moments’, slam poet Joshua Idehen (also heard alongside Shabaka Hutchings on Sons of Kemet’s Your Queen is a Reptile) gives a rough-hewn, individual perspective on worlds ending and beginning. “The earth is cracked, the mountains pocked, the rivers ripped”, yes, but the “history deleted” by Brixton Arches’ gentrification, like someone blindsided by “a dash of clarity”, is also part of an ongoing flow where finally “all that matters is the moment”. The Comet’s concepts verge knowingly towards tin hat conspiracy, but aspire to an astronaut’s helmet and heavenly ascension too, for once contemplating the ‘cosmic’ in cosmic jazz. Idehen’s words narrow it to a lonely figure clutching chips on a chilly street-corner, linking personal despair and the outer limits. Dub bubbles of synth and Shabaka’s blowsily forthright, near-power ballad sax mark this maybe-jazz trio’s contribution to a track which pours and cools like lava, and ends as if soundtracking an Edge of Darkness sequel. ‘The Afterlife’ offers a chilly metallic limbo, Floydian synths fluttering, before Hutchings shoves past its antechamber to ‘The Lifeforce’, where rave-jazz saxes surge. Where the Lifeforce album pushed UK jazz and Hutchings as far into a particular future as either have so far gone – one heavily foreshadowed in Soccer96, from which the Comet flew – this is that statement’s appendix; a lesser angle on the main event.