Sixteen years after his debut release as Junk Magic, pianist Craig Taborn returns with this remarkable follow-up, which continues his experiments fusing improvised music and electronic production. Each of the tracks (or “sound chambers” to quote the liner notes) is as beautiful, strange and surprising as the last. We hear murmuring reeds and fragile acoustic piano; electronics like tuned medical equipment; over-driven viola shredding and machine-gunning snare drums; fizzes and glitches, abstract rhythms, ancient rattles and gongs hazy with reverb. There are moments of blissful ambience, but there are also beats that hit you hard in the stomach. The opener, ‘Laser Beaming Hearts’, starts with a sound like church bells hammered into a sheet. Purring electronics arrive and evolve into a juddering melody. A drum machine kicks in, then unsettling harmonies and nexuses of cross rhythms. What would you call it? Haunted House? The way Taborn mixes electronic – and acoustic – sounds is fascinating. Sometimes the shifts are imperceptible, sometimes harsh. They distort one another and combine like molten metals in a crucible – sort of separate but sort of the same. You could listen to this a hundred times and still find something interesting and new.