Joining Ernesto on viola and Guilherme on pocket trumpet and cello are Christine Sehnaoui on alto saxophone and husband Sharif on electric guitar. “Sitting On A Fence” is full of Frithian halos, expanded reverberations, low snarls and bundles of harmonics, an amorphous mantric radiation ruptured by surreptitious quivering percussion. “Flip Coins” starts with a deep drone accompanied by what sounds like a feverish gasp, before evolving into wails and wheezes layered over harmonically imbalanced abrasion and harsh angular counterpoint. About five and a half minutes in, you feel the presence of a monster about to wake up, but instead the music shifts towards scarcer, breathier configurations. “Over Turn” works in the dangerous area of barely contained restraint, the players going to pains to keep the sonic train on its tracks despite the absence of a driver. Sharif Sehnaoui’s appliance-stimulated guitar produces an endless, trance-inducing flow of electricity, while the boundary lines between the other instruments are blurred by the protective cushion of near-silence provided by the ominous and omnipresent hum.