Martin Küchen’s grimly titled Lieber Heiland, lass Uns Sterben was, fittingly enough, recorded in a crypt. The room, a stone-floored space built in 1121 and reputed to be the oldest such space in Sweden, is part of Lund Cathedral. Küchen went there in May, 2016 to set out the music that makes up this recording. Küchen plays alto, tenor and baritone saxophones; he uses radio, iPod and electronic tambura as additional sound sources. Two of the tracks feature overdubbing, but it is the three unedited live performances at the literal center of the set that carry the greatest expressive immediacy, even when Küchen’s horn is supplemented by sounds in fixed media. The brief Music to Silence Music unfolds with the lightness of rising and falling waves of sound that recall a fluttering of wings. The resonance of the crypt’s acoustics undoubtedly enhance the subtle shadings Küchen coaxes from his instrument; here, as on other pieces, Küchen’s saxophone sound takes on a flutelike airiness. The long Purcell in the Eternal Deir Yassin is a slowly developing, uncluttered alap for solo saxophone accompanied by electronic tambura. Ruf zu mir Bezprizorni…also uses prerecorded sound, in this case of a piano, over which Küchen’s saxophone laments hoarsely. While the set seems to represent a meditation on history’s uneasy dialectic of barbarity and cultivation, the stark beauty of the individual pieces provides an opportunity for reflection that the listener can fill with his or her own meanings.