Tout are an intriguing entity. Their remit appears to be the creation of an immersive sense of atmosphere and mood. Not entirely uncommon in the realms of ambient instrumental music.  But what makes this duo of Nick Downes and Jonathan Fryer so appealing is that they are willing to achieve this by any means necessary.  For their first three albums the pair embraced an approach that revolved around folk and alt-country, but for their latest release, Fourth, they have applied a genre handbrake turn and are now diving into the world of jazz.

Both nominally guitarists, which comes as no surprise to anyone who has listened to their earlier output, Downes and Fryer  have been working together for over a decade. They released their debut, the aptly-titled First, back in 2011 - a stripped-back, acoustically-centred affair with an undercurrent of trad country and Appalachian folk - and this is the aesthetic that they continued to build on for albums Second and Third, that is until they decided to change tack.

The musicmaking process commences with the pair hunkered down in their London studio, composing tracks and creating demos, which are then sent out to their chosen collaborators to both expand upon and develop. Downes and Fryer may sit at the core of Tout, but their music would not be what it is without the help of a whole host of friends. And given Fourth’s emphasis on modern classical and jazz, the duo have turned to the likes of saxophonists Christian Berg and Martin Clarke, Ross Downes on synth and keys, plus the added layering of strings with cello and double bass courtesy of Speakers Corner Quartet’s Peter Bennie.

 ‘I rob the rich to feed the poor’ opens the record with its trepidatious guitar, bass and cello before the omnipresent sax enters. This is pure atmosphere initially tapping  into the ambient country aesthetic of their previous records before veering off in a more jazz-oriented direction. Highly reminiscent of the Necks and finishing on a free jazz flourish. Moving into the bass opening of ‘Which hardly is a sin’, muted viola and synths rise as bass and cello vie for space before the melody truly arrives courtesy of the viola. ‘A widow ne'er knocked at my door’ sees the duo revert back to their roots as acoustic and slow strumming, trembling electric guitar lean into the country vibe. Then we’re right back where we were as bowing cello and bass take centre stage for ‘But what I let her in’.

‘So blame me not for what I've done’ is a highlight. Deep melancholia as the percussion and piano drive this piece along with chimes, brushes and soaring background sounds.  And this percussive dominance continues into ‘I don't deserve your curses’ with its ambient atmosphere opening with what sounds like gamelan/sitar and mellow sax. As we reach the end with ‘And if for any cause I'm hung’ a stuttering synth start gives way to a stuttering guitar with sax intermittent lines as all instruments coalesce to bring the album to an end. A wonderful end of year release;  listen here.