Some musicians use this ‘pop’ approach as a starting point for their explorations and as a way of grounding such experimentation in a more broadly familiar context. The success of such approaches is at least partially dependent upon a listener’s affection for, or familiarity with, pop music in general. Furthermore, there is a long history of pop musicians borrowing techniques from outside the cultural mainstream; more ex-perimental forms of music providing much-needed inspiration and musical spice. Our contemporary sonic universe has atomized and expanded to the point where almost every possible musical form or strategy has been applied, twisting convention and genre into new aural shapes.

The London/Wellington collaboration, Imbogodom, mirror this process by taking more obscure musical idioms, such as electronic library music or musique concrete, and applying them to musics which are less arid than those tied more directly to an academic avant-garde. On their second album, "And They Turned Not When They Went" (Thrill Jockey Records), Imbogodom explore the joys of magnetic tape manipulation and found sound. The London-based half of the duo is one Alexander Tucker; known for both solo releases (on Thrill Jockey) as well as collaborations with Stephen O’Malley and Daniel O’Sullivan. Daniel Beban is the other half of Imbogodom and hails from Wellington, New Zealand. Beban has a band called Orchestra of Spheres and is involved in the Frederick Street Light and Sound Exploration Society. It should be evident that both these men have the musical credentials to deliver some captivating music…..and for the most part they do.

What struck me most listening (on several occasions) to "And They Turned Not When They Went" were the sounds and how each was given enough space to be individually discerned but at the same time being well-integrated into their respective pieces. Evidence for this attentive approach to sound construction can be found in the pieces “Boromog’s Clock”, “Welcome Away”, “The Passing Preference”, and “Rubbings”. These pieces delight with their mysterious beauty and unexpected sonic progressions. This makes for quite an enjoyable listen. What I found rather irksome were the vocals that appeared on some other tracks; vocal interjections which interfered with the enchanting spell woven by the musical sound-pieces containing them. Also somewhat bothersome was where drums impinged upon the stream of sound manipulations, disrupting their heuristic flow. The most jarring of these percussion-marred tracks was “Window Faces”; an almost Eighties-sounding piece of throwaway experimentalism. Speaking again of the vocals, they as well provide a less than fond reminder of the Eighties; echoey, faux-moody post-punkisms. That all being said these are minor caveats at best and their initially jarring nature recedes a bit with repeated listening.

The music on "And They Turned Not When They Went" is experimental but not encased in the usual terminal seriousness associated with most things experimental. It compares favorably with other sound-experimentalists like Hoor paar Kraat, irr. app. (ext.), Nurse With Wound, Organum, and Chris Watson. Where Imbogodom does diverge from some purveyors of industrial/post-industrial sounds is that the music on "And They Turned Not When They Went" is not nearly as dark and claustrophobic. There is a much-appreciated lightness of touch resulting in music that does not overwhelm with overwrought density. It is also lacking in juvenile shock tactics, which is much appreciated. This is an album that will delight neophytes as well as seasoned explorers of outré sonic terrain, so buy a copy ASAP to map the enchanting sonic world of Imbogodom.