You could say that the trio comes from Copenhagen, since that’s where they first convened in 2023, but only one of them lives there. That would be Gintė Preisaitė, a Lithuanian musician who plays electronics in some contexts, but sticks to piano in Treen. Tenor saxophonist Amalie Dahl is Danish, but she lives in Norway. Although she’s currently based in Oslo, she studied in Trondheim and most of her other ensembles include players with Trondheim roots. And drummer Jan Philipp is from Cologne, Germany.

Given their geographical scatter, it’s worth remarking that this is not a trio that rehearses. When they get together, they make music. It is not scattered or haphazard; as improvised music goes, it’s pretty cohesive. Each piece has a hovering quality, with a patient rate of change that might be perceived as forward momentum, but could also be experienced like a patiently scanned vista. Within each mass of sound, there’s plenty of change to keep the listener engaged.

While one might call it atmospheric, it also has bulk and sandpapery grit. Preisaitė holds first responsibility for that impression of substance. On “Ridenuos,” she keeps up a steady rumble at the keys, imparting a massive but differentiated presence shot through with twisting streams of sound. Elsewhere, she uses preparations that give each key strike a muted, tolling quality, which morph into twisting, repetitive melodies. Philipp usually keeps a couple streams of sound going, one on drums, the other on cymbals and other metallic items. Dahl’s short, flickering utterances and longer, lower brays seem to hover above the fray, giving each of the album’s four pieces a looming vertical dimension. Her tone has a plushness that feels more connected to mid-20th century balladry than the Scandinavian free lineage, but she also brings a sandpapery grit that keeps the music from getting too diffuse. This is not music that will quickly wear out its welcome.