If there are some familiar devices, such as the use of slow-moving written lines for horns and strings against busy percussion, there’s no sense of cliché. And what you won’t find is much in the way of the collective freak-outs familiar from the early years of such ventures. For all the musicians‘ fervour, both explicit and implicit, this is music in which the free play of ensemble and individual imagination is tempered by an intelligent degree of control. When an explosion does come along (and there are a couple), it’s a shock and is either brief or carefully resolved: an example of the sort of tactical astuteness characteristic of what will undoubtedly be one of the albums of the year.