EPHEMERAL ARKESTRA-Whole World

New project from Dundee musician Neil McIntee, better known for his "Box" project, and it's riveting. 9 tracks over one hour that take on board some of the most adventurous and innovative new music around today. The opener is 'Peruvian Marching Power', a title that truly depicts the track as initially acoustic guitars are heard for the first 23 seconds, then suddenly in come what sounds like an Arabic wind instrument calling the faithful to prayer over a deep rumbling bass drone - then ethnic percussion spirals in, the sound is overlaid with more layers of wind instrument-sounding drones, the intensity of the bass increases, and the whole thing rises up and marches forward, the effect spellbinding. Suddenly you are left with just the percussion and guitars and bass rumble as electronics enter and perform rapid-fire bursts, the guitar-percussion heart of the track marching on. More layers of what sound like mellotron samples appear and the whole pattern opens up into one vast sounding soundscape of massive proportions, rumbling, droning, and crunching ahead in amazing fashion, totally unique but so accessible, and a stunning six minute opener.
'African Head Space' is up next and this starts with squidgy electronics before this stunning percussive rumbling rhythm appears and then, over that, an awesome rhythm appears from what sounds like a processed bass guitar set on stun, but more electronic - lord knows what this guy's using to create these sounds but they're incredible. Above this an almost horn-like melody weaves a spell in the distance while the rhythmic mass swirls and drives, punctuated by all sorts of layers, melodies, textures and it'll take you at least five listens just to spot it all - an example of multi-layered contemporary electro-acoustic music at its finest, the pioneering spirit and sound of the seventies brought kicking and screaming smack up to date - innovation in music never sounded so good - in fact the nearest comparison would be Faust - yes, Faust - and anyone into the more experimental side of that band and most things off the first two albums, would do well to score a copy of this CD.
Then comes 'Icelandic Dub' opening on THE most fantastic rapid-fire electronic rhythm, full of bass splendour, as piano appears and then suddenly a whole mass of melodic guitars, deep rumbling drums, crunching rhythms and deep raga-like drone at the base of the mix all combine to create a truly head-bending sea of rhythmic intensity that is absolutely magical - just magical - and SO powerful too. It's music like you've never heard before but so addictive and so immediate, yet incredibly complex and original - four and a half minutes of this just isn't enough.
'Sammi Ghost Dance' starts with resonant drums, ethnic percussion and deep throbbing bass, before a bell-like tone chimes out, the bass rumbles away immaculately and suddenly a bleeping, echoing line of electronic sounds, sweep across the mix, as the rhythms rumble and crunch, the whole thing now beginning to take off as the assorted parts combine to create an incredibly hypnotic whole, the top layers changing slowly and subtly as this complex rhythmic foundation, marches onwards. But then the rhythms cease and a whole new soundscape of repeating electronics, throbbing electronic rhythms and buzz-saw electronic backdrops take us firmly and squarely back into Faust territory to end the composition on a jaw-dropping soundscape. Simply amazing and nearly nine minutes long.
'Baltic Tabla Factory' starts as you might expect - with tables - but not for long as this clattering array of drums and percussion and electronics appears above it then suddenly this swirling, circling electronic lead drone begins but then is overlaid by the most awesome electronic drone, then that changes to staccato electronics as the whole thing starts to build more layers than a royal wedding cake and the effect is stunning as this mass of layers and rhythms just drives forward like nothing you've ever really heard before outside the Krautrock innovators of the seventies - almost impossible to describe, utterly addictive and just amazing, this is yet more music that you just have to hear to get the full explosive effect for its entire eight minute running time.
The wonderfully named 'Outback Industrial Townplanners' starts with swampy beats, crashing cymbals and bursts of electronics before the hissing electronic layer takes over and then disappears as another echoing lead layer appears, with what sounds like a didge backdrop throbbing away but then that disappears and…..well, you get the picture - over the solid rhythmic foundations, more sounds, melodies, layers and drones than you could hope to hear are swiftly introduced then taken away to reveal a whole new landscape as the relatively subdued but oh-so dynamic track wends its way to a five and half minute conclusion.
The seven minute 'Noh not now, that', is an exercise in mesmerising drums and electronics, the former opening things up with a crunch as the latter gather round like angry wasps, and the two combining to form this swirling, driving, hypnotic sea of drums and drones, layers and rumbles, all of which might sound unlistenable but which is in actual fact, highly enjoyable and totally digestible - like the rest of the album, something else that will amaze and delight.
Another incredible powerful rhythmic-led setting of drums, pounding bass, throbbing electronics and electronic drums provides the backbone for the incendiary marching mass that is 'Mining In The Caucassus' a seven minute piece that is just awesome in its arrangement and execution, again back to hints of classic Faust but going beyond this as the patterns change, the soundscapes twist and turn, the rhythms change shape and the whole thing becomes this driving, powerful, intense array of drumming, rhythmic electronics, dense drones, swirling melodies and huge-sounding layers that defy dissection as you enjoy this monumental soundscape that's striding out in solid and emotive fashion - another stunning track.
Finally there's six minutes of 'Electron Wandering Through Asia' which I can only like to a melting pot of Can with Czukay on horn, and Faust, with added electronics - splendid stuff.
Overall, a truly awesome album and for those who want musical innovation that's accessible, rhythmic and enjoyable from start to finish, something new in the world of electronics and drums, this is the business!!

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