‘Brotzmann barely plays saxophone at all, sticking mostly to tarogato and a host of clarinets; Nilssen-Love mostly plays gongs, bells and other metal percussion. With the changes in tools comes a change in approach. Nilssen-Love is sparer and more decorative, providing accentuating commentary that highlights the more solemn and yearning aspects of his partner’s playing, and Brotzmann explores melancholy to devastating effect. This is a career peak for the recently departed reedist’ (Bill Meyer, The Wire).