Four lengthy pieces by the prolific English soprano sax player, John Butcher, who has been active since the mid-1980s as a solo performer often given to collaborative works such as this one and can be found in Phil Minton’s group, and Toshimaru Nakamaru, who over a succession of releases himself has perfected his “no input mixing board” that has previously found itself used in collaboration with erstwhile, high-grade improvisers as diverse as Keith Rowe, Otomo Yoshihide and Jean-Luc Guionnet, amongst others.

Also utilising a tenor sax and feedback, these pieces grind along with a steady yet roughly-hewn sonorous edge as synonymous with the very grating and rasping machinery the title suggests as with the core language at work here. What may at first appear to be uninviting and perhaps slightly insular, however, soon opens up and proves to be yet another widely expressive treatise on language arriving in many forms. Controlled feedback swirls and a compelling atonal undertow drive Dusted Machinery along, and only from time to time do the saxophones actually sound vaguely like one might expect. Ultimately, this moves, though, and what may appear to be constants throughout are only deceptively so. Which is precisely how it should be. RJ