Three exacting improvisations by Anthony Pateras (piano), Erkki Veltheim (violin) and Scott Tinkler (trumpet). This reviewer's conversancy with Pateras' creative expression is sufficiently established; after having treasured Veltheim's input in their mesmerizing duo The Slow Creep Of Convenience (Immediata, 2017), the missing link of knowledge here was Tinkler's modus operandi. I'm now glad to have met an accomplished trumpeter, his CV including important collaborations both in jazz and classical ambits.

This is the first release by Offcompass, a label founded by this very trio; all the track titles refer to the recording location, Melbourne's Church of All Nations. In spite of the sacred environment — potentially evoking murmuring upper partials and silences barely ruptured by distant motorcycles — this is neither a "minimalist" nor a "lowercase" album. The musicians mostly deliver emphatic affirmations, filling the space with sound while remaining committed to the intelligibility of the progressing organization. The action revolves around brain-and-soul flurries juxtaposing a variegation of practical strategies, dynamics ranging from "almost violent" to "intensely reflective", with rare quieter interludes. Lightning-quick arpeggios leading to chordal distillation; contemporary atonalism enhanced by a clever use of technical wizardry; quasi-free liberation respectful of the extemporaneous contrapuntal formations.

Beyond any overly graphic description, more important is pointing out the necessity of conforming ears and mind to those of the players; totally focused, North Of North never skip a beat. Someone might be slightly overwhelmed by an abundance of perspectives deprived of harmonic safety handles; however, once acquainted with the timbral integrity there's no problem in staying. The lingering impression is that of a dedicated consciousness, with repeated spins required to penetrate the music's gist. The persistent newcomer will be rewarded; the cognoscenti needs no further stimulation.