More mechanics than ritual, the sounds played by the Filamental octet were actually recorded separately by each improviser. Results were then mixed and mastered to create the disc’s two extended tracks. Yet the improvisations are abstract enough and the players attuned enough to each others’ skills that there are no obvious disruptions.

While affiliated logically, the fluid tracks include enough interludes of string pops, reed whistles and growls and electrified drones to suggest live interaction among the Europe-based musicians: reedists Christine Abdelnour and Michael Thieke, string players Angharad Davies, Aimée Theriot-Ramos, Anthea Caddy, Rhodri Davies and Zeena Parkins plus Magda Mayas on Rhodes piano and harmonium.

Undulating swells from the latter are crucial since they create the ostinato over which the reed players create tongue stops and split tones and string players project tropes from tutti glissandi to individual arco rubs and slides on to pizzicato pinches and strums. The electric piano’s vibes-like resonations also add needed pinpoint roughness to animate those passages. This usually happens when dual harp glissandi hang in the air with measured prettiness. Combined tones from extended string techniques also add a layer of percussion-like throbs when needed.

Overall it doesn’t really matter what internet or studio wizardry was used to create Ritual Mechanics. The sparkling improvisations which they engendered justify the means with which this memorable end resulted.