Not quite jazz but not quite avant-garde, Sydney group Triosk blend together elements of each together with an electronica touch that makes them sound not quite like anything else.

As such, their third album The Headlight Serenade continues apace from their previous explorations of sound, the debut collaboration with Jan Jelenik 1+3+1, and 2004’s singular follow-up Moment Returns. The big difference here is that, save for the ten minute exploration of “Lazyboat”, everything is more controlled and in place than in the past.

As such, moments like opener “Visions IV” are more controlled and linear – almost more like a song than like a construction of sound. Similarly the likes of “Headlights” and closer “Fear Survivor” appear to have beginnings, middles, and ends, rather than open windows for which fragments of sound to leap through.

That said, Triosk are still very much a group based around feeling – there’s an emotional fragility to much of The Headlight Serenade that is not apparent in most modern jazz artist’s work. As such, it’s no surprise that comparisons with the likes of Four Tet have been bandied about; like Kieren Hebden, the three members of Triosk are creating a different template for which people can project their own emotions on to – they’re an open canvas of sound.