This is a very welcome introduction to the LCG, as if the group were sharing their music-making as frankly as possible with us craftless listeners.  Each of the three takes of House Symmetrical has its own identity.  Subjectively, I found that the second take has the greatest impact; the musicians had the groove and were attacking it with redoubled commitment.  The third sounds slightly more relaxed. The C major circulation comes as a relief after that worrying symmetrical scale. Are circulations always as serene as this? From a listener’s viewpoint, they seem to have the virtue of freedom from self-expression. The music can speak for itself as the ’player’ is the whole group rather than any individual. I’d wish the LCG5 spectacular success, if it wasn’t for that contract... as Groucho Marx said in A Night at the Opera, "As long he doesn’t sing too often, he can just break even".