The guitar is one of music's most versatile instruments. In the right pair of hands it can cater for a wide variety of moods, tones and emotions - in one moment it can provide a party-starting funk rhythm, a heart breaking riff, or be cranked so loud it'll shatter your eardrums like glass. Dustin Wong knows this to be a fact and on his latest album, Meditation of Ecstatic Energy, he wants to show the world just what can be achieved with six strings.

This album, the conclusion of a thematic trilogy of records, sees Dustin creating songs and melodies using a guitar, a series of effects pedals and loops. Aside from a smattering of percussion and vocals, which serve more atmospheric than lyrical purposes, that's all there is on the album. It's all Dustin Wong really needs.

You'd perhaps be surprised to hear album opener 'The Big She' then, because the sounds that come from Wong's guitar are not usual, even by his standards. A steady, overdriven guitar riff is looped underneath a myriad of manipulated sounds. Clean chords are subject to vibrato, whilst metallic clatters come from a guitar played with heavy delay. It's a disorientating experience, with each component of the song - percussion included - seemingly operating on an altogether different time signature. It makes for a challenging opening, but then, at around the 3 and a half minute mark the initial guitar loop breaks time and suddenly the whole song merges into one coherent piece. It's as though Dustin has been triggering each loop individually, manipulating on the fly and improvising throughout the track in the hope that it'll all fall together. Out of chaos comes order and a lead guitar riff that just lifts the track to new heights, before it hits a peak and suddenly dissolves away into track two.

The fourteen tracks of Meditation of Ecstatic Energy are mixed so that each track flows into the next, yet Dustin is still able to throw in a number of surprises in order to grab your attention and make it clear that this is an album that is able to suddenly shift direction. This could be a squealing breakdown, like the one found towards the end of '(A) shows (B) his analysis and ( C ) looked over', or the transition from complex eastern-style polyrhythm to chillwave guitar chords on 'Aura Peeled Off'. As a result of this the album is littered with intricacies and eccentricities that only really reveal themselves on subsequent listens.

Compared to Dustin's last album Dreams Say, View, Create, Shadow Leads, this new record is not as accessible. The mellow, blissful melodies are still present, but the first few tracks perhaps try a few too many sudden about-turns. Track five, 'Out of the Crown Head', uses sudden triggering of delay pedals which I felt broke an interesting song progression and for me limited the song's impact. The louder, more "aggressive" approach in some of the songs tends to either hit a sweet spot - the album opener is particularly great for all its clatters and clangs - or, on the rare occasion, be a little overwhelming.

However, as a singular piece of work, played from start to finish, there is a cohesion to it, a sense of introspection. This theme is reinforced by the fact that this is the first album Dustin has recorded since moving back to Japan and is heavily influenced by his own childhood. The album's concept is based around a short story Dustin wrote, that was in turn inspired by his experience of growing up in a Christian School. His use of loops can even be traced back to this time, when he was taught to sing in rounds. On tracks like 'Japan' it almost feels as though Dustin is trying to coax the same effect using his guitar and pedals.

Given the wider range to Wong's experimentation - there are more percussive elements, whilst an octave pedal provides some sublime bass notes - there is far more variation on offer here than on any of his previous releases. At times it's noisy, whilst at others, such as closing track 'Tall Call Cold Sun', there is a beautiful, ethereal quality to the music.

I doubt this record will pull in many new fans for Dustin Wong, which is a shame, yet I can understand why people might also be put off. The point of entry is challenging, given the unusual time signatures and reliance on polyrhythm, whilst the lack of stand-out tracks (this really is an album to be played in order, in its entirety) may prevent listeners from finding a hook to return to. For those that do return Meditation of Ecstatic Energy becomes deeply rewarding, its rich palette of sounds still able to surprise time and time again.