Picture a narrow passage with six doors. The first is marked Exaptation, and as you remember the meaning – something acquiring functions for which it was not intended – the door springs open, and you’re sucked inside a sound world where organic and robotic elements cohabit with improbable collegiality. Lurking behind the second door, Vessel is initially more confronting with its industrial-scale drums and blocks of sound swirling with crushing velocity, yet the trumpet and keyboard offer lifelines amid the maelstrom towards a more celestial denouement.
Briefly wondering if my own insides were miked up for Old Organs, I’m reassured by the drums’ entry, and so ride a bumpy rhythm through soft waves of electronica with only muted alarm. Survival would seem a grim business, until the drums and keyboard play a lively game amid the desolation. Debris is a room best visited helmeted, the wreckage so monumental that at sufficient volume it might make your ears bleed. Bylong is the refuge – when Ollie Brown (electronics), Evan Dorrian (percussion), Peter Hollo (cello), Adrian Lim-Klumpes (keys) and co have rattled you enough.