Starting life as a way to stave off boredom on a 2014 tour with singer Zara McFarlane, drummer Moses Boyd and saxophonist Binker Golding’s Binker & Moses project has since become a defining outlet for their creativity – a free jazz repository for two of the UK scene’s finest improvising minds.

While their previous four albums have tried to capture the synaptic impulses of pure, unprocessed live improvisation – forsaking overdubs or edits – their latest, Feeding the Machine, sees them expanding their vision.

The inclusion of a third member, Max Luthert, on modular synths and tape delays, adds a welcome sense of space to the otherwise immense presence of the saxophone and drums. Standout opener Asynchronous Interval spits a dilatory, looped saxophone melody against Boyd’s clattering rhythms before Golding cuts in with a searing, bop-referencing solo. Accelerometer Overdose, meanwhile, takes advantage of Luthert’s low-range synths, providing an earthy bass to Golding’s clarion calls.

The interplay between the trio is seamless throughout but it is the saxophone and drums that are the stars. Boyd and Golding display an almost telepathic intuition, egging each other on to new heights on Feed Infinite, or dropping down to a whispered intimacy on Because Because. Luthert’s manipulations merely serve to highlight, loop or amplify the moments of greatest connection between the pair – proving that this is one of jazz’s most exciting young outfits.

Ammar Kalia