Endguys works with sound recordings the two artists have gathered on their travels, featuring a whirlybird from Matt’s chimney. Steve has a composed score for this. It is in proper English sentences, rather than musical notation, with queues and instructions.

Steve starts with bass clarinet, and it’s something straight out of Eric Dolphy’s “Hat and Beard”. Matt takes a flute solo as Steve puts his instrument down. It is gentle and jumpy. Steve squeaks on a sopranino sax, lightly punctuating Matt’s flute.

Now Steve strokes a toy xylophone, and some tiny pots and pans, evoking gamelon music. Then it’s the soprano sax proper, disciplined honks. These are dialogues reminiscent of classic AACM collaborations. The two go largely in tandem, as if they are following two parallel bike paths in the woods. Diatonic tones predominate. They are relaxed yet alert. Now Steve goes solo with the whirlybird. It is hypnotic. Growling spirals of sound, with neat harmonics, and budding, aggressive arpeggios. One thinks of Evan Parker’s solo soprano forays.

Matt takes over with watery tones, almost like a shakuhachi. Steve adds the warm notes of his bass clarinet, as the field recordings wash over them like waves. Again, this is peaceful music, with the right clusters and syncopation to keep it vital. It’s downright dreamy.