Binker and Moses arrived with a bang plus an attitude that had more in common with West Coast Get Down than the UK jazz scene when they debuted with Dem Ones in 2015. Going on to win the MOBO jazz award, this intensely energetic incantatory duo pre-empted a ‘new wave’ of jazz making connections to a young contemporary audience and resurrecting the ‘Jazz isn’t Dead’ headlines. But the Mercury-shortlisted drummer Boyd and saxophonist Golding are not the type to rest on their laurels. There was a welcome expansion of resources on 2017’s Journey to the Mountain of Forever with notable contributions from Evan Parker, drummer Yussef Dayes and harpist Tori Handsley. Notwithstanding a pair of ‘live’ album releases, this is their first studio album for five years. They come at it this time with an adventurous new twist by adding a cosmic-sized ambient-electronic dimension to the original raw acoustic sound. Looking after the machines of the album title is Max Luthert, better known as the bassist in trio Partikel but who showed something of this other side to him in recent improv-electronica duo Million Square alongside saxophonist Duncan Eagles. The duo’s live interplay is filtered through a Modular synth with sampled tape loops in real-time, yet the spontaneity isn’t lost. The soundscape is epic yet Luthert’s methods are minimalistic: looped samples built around Golding’s sax motifs and spacey drones instead of the tunes/grooves of previous albums, and there’s an added thunder to Boyd’s superb drumming improvs. Standout tracks include the psychedelic ‘Accelerometer Overdose' with its whirring synth, funk-rock backbeat and echo-y sax faintly reminiscent of Bitches Brew-period Miles, and ‘Because Because’ that brings together droning electronica, Golding’s bagpipe-like, eastern invocations on soprano and Boyd’s crisply inventive beats.