Remote Viewers is the long-running UK improvising and conceptual group, varying its lineup in several configurations, and directed by composer and saxophonist Dave Petts. Here the grouping is Caroline Kraabel on alto & baritone saxophones, Sue Lynch on tenor saxophone & clarinet, Adrian Northover on soprano, sopranino & alto saxes, along with wasp & autoharp, David Petts on tenor sax & noise generator, John Edwards on double bass, and Mark Sanders on drums & percussion.

Voracious bassist John Edwards shines throughout this record. "Quiet Money" begins with chiming cymbals and dissonant horns, not unlike some mid-sixties Grachan Moncur compositions . A piano line teeters above long held tones and suspended reality percussion. The mood is tense and foreboding, signaling an impending danger. "Hearing an Army" may be just that. The sound of notes marching blindly into peril, riding a circular piano and broken bass figure with stabs of horn and percussion. "November Sky" moves into cinematic noir jazz territory with skittering cymbals that almost swing above regimented piano syncopation and orchestral smears.

"Shallow War" opens with tightly wound brush work and buzzing electronics punctuated by near dissonant horn. This is 60s movie spy music shot through with 21st century composition and electro-acoustic fury. The mallet work gives it a slight Chicago leaning, but the horns veer it closer to smouldering abandon than this group's Midwestern counterparts. "Still we Laugh, Still we Run" cruises along atop Edwards' bass ostinato while cymbal harmonics morph in and out of the 4th dimension. A solemn piano figure signals some wigged out disco jazz, not far from the drum-work of George Hurley in the Minutemen albeit more tame. The horns keep it dirty for the duration with overblowing and dissonance. "Fictioned Future" starts out sparse and dissonant, existing in cells of atonal phrases that are somehow hopeful sounding. Greasy drums and bass kick in with a strangulated saxophone line snaking in and out of the beat. "Dead Paper" has a similarly somber opening section with long held tones and gong sounds supporting short tone burst from piano and reeds. Ring modulation hides in the shadows while cymbals scrape and crash in the foreground.