The German-born saxophonist Ingrid Laubrock's 2010 Anti-House album was also her first recording as leader since setting up new roots and working relationships in Brooklyn having lived in London for two decades where she had initially served an apprenticeship with the F-IRE Collective. This is only one of a handful of leftfield New York line ups she plays in but it's perhaps the one that moves the furthest out in terms of developing fresh interactions between writing and improvisation. Recorded for the dynamic experimental Zurich-based indie Intakt, the third Anti-House recording Roulette Of The Cradle follows 2013's Strong Place and it's clearer that Laubrock has a relationship with her band members built on trust and mutual understanding, so enabling a democratic approach to the ensemble in which no one voice speaks louder than the other. She bases her writing processes around her quartet of musicians' freshly idiosyncratic sound concepts. It's difficult to pinpoint any central influences in terms of musical styles; the guitarist Mary Halvorson for example can combine the playfully abstract sonic textures of Derek Bailey, mellow twists on standard chords and gritty alt.rock echoes of Captain Beefheart all in the same solo. A mood, an anchor in the music is established before ensemble roles shift causing unpredictable changes in shape or narrative; spacey, pointillist or eerie contrapuntal contemporary chamber classical episodes can lead to something with the crashing insistence of thrash metal. As might be expected for someone personally involved with the work of Anthony Braxton's ensemble – Halvorson and the saxophonist have both been disciples and contributors in his recent projects – the relationships between form and improvisational intuition are being constantly redefined.