The eight improvisations carried out by this trio (enlarged to a quartet in three tracks, thanks to the addition of Peet on organ and Theremin) are critical, refined and vivid, music that mixes ingenious intuition and lucidity with the classy awareness that only those who have been committed to a scrupulous evisceration of an instrument can bring to the table. Sounds and ideas that float, then suddenly drop right into our mechanisms of acquaintance. Absorbed, instantly retransmitted and not just supposed, combining metrical components of disparate proveniences and on-the-spot counterpoints enriched by indispensable doses of paradox. The latter is typically provided by Hay’s surprising gamut of expressions recalling creative master vocalists such as Shelley Hirsch and Kira Vollman, marvellously in evidence in “March Of The Id”. Not to mention one of the most ornate flute tones of the West Coast, seamed through charming designs where Dutz’s shrewd percussive fractals and Honda’s attentive decentralization of chordal structures sparkle of uncommon intelligibility even in presence of elaborate developments (“Sinking Anchor”) and primordial influences (the conclusive “Entrenched”). Certain records require a surplus of energy from the listener, replete as they are with gratuitous complications translatable as ego gratification. Polarity Taskmasters stands at the exact opposite pole: the will of involving and, in a way, simultaneously explaining to an audience what’s going on is reflected by a communicative program, rich in configurational comprehensibility and timbral attractiveness and exalted by the superb recording quality.