One never knows what direction British multi-reedman Martin Archer will impart as he surges forward in a stealthy world of avant-jazz, electronics, or discombobulated jazz-rock. Hands down, he's one of the more creative musical souls on mother earth. Each new album marks a distinct journey. His fresh outlook and cornucopia of disparate concepts, executed with large and small ensembles—along with several albums collaborating with legendary British vocalist Julie Tippetts—represent a succession of distinguished agendas. Here, Archer's bountiful resourcefulness once again shines radiantly within a large ensemble format, where not all the musicians perform in concurrent fashion.

The album title might allude to a loud industrial-music type program, but in actuality, Archer cites the Chicago-based Association for the Advancement of Creative Musicians (AACM) as a major influence within the album notes. Comprised of three extended works, each piece is a study in semi-free jazz, incorporating capacious characteristics and an open forum for the artists to expand their wares. It's cohesive, but almost anything goes via the whirlwind tour. Dual percussionists and drummers, strings, horns and vibes all play significant parts amid an incessant reinvention process. On "Of the Above," violinist Graham Clark expresses lament leading to the band's aerial bombardment, spanning creaky sax notes and brash breakouts, and segueing back to the violinist's sonorous passages along with pianist Laura Cole's lush chord developments. Numerous contrasts and unexpected delights abound.

The final track "Blue Meat, Black Diesel & Engine Room Favorites" is partitioned as a multi-part suite. Here, asymmetrical horns, low- key rumblings and harmonically appealing choruses, hinging on traditional jazz and blues, are intersecting components of a lengthy journey. Add Clark's sweet violin phrasings and