The title evokes the sounds Surman heard across the water from Saltash Church while out on his father's dinghy as a child, and they are represented in the computer-generated bell tones and circling loops underpinning his first unaccompanied set in 18 years. The opening Whistman's Wood sets a frosty, pinging computer repeat behind overdubbed baritone-sax lines – one emphasising the traditional harmony turns of a bassline, the other softly blowing yearning hoots and slithering runs. On Staddon Heights is a whirling folk dance building to playful soprano-sax variations against riffing low clarinet figures and percussive synths. The music is sometimes punchy and robust (the strutting Triadichorum is a close-harmony exercise for overdubbed baritones); it comes close to the delicate reveries of Jan Garbarek in a glistening mood-piece like Winter Elegy, and mixes all the prevailing moods – from jigging dances to pealing-bell figures – in the title track. The long finale, Sailing Westwards, has the jazziest passages, but also hints at an exultant, rhumba-like party mood. It's less introspective than Surman's past solo work has sometimes been, and it's full of buoyant, engaging lyricism.