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Luke Abbott has some pretty respectable peers. Residing on James Holden's Border Community label along with Nathan Fake, he is part of a group of innovative and challenging British producers. Wysing Forest was the partly product of sessions at the remote Wysing Arts Centre in Cambridge and is easily discernible that it is an album that was created in solitude. Wysing Forest is an experimental album that has fallen on the wrong side of the challenging line.

After two EPs released in 2012, Abbott returns with his second full length release - Wysing Forest. In his interview with The 405 last year, Abbott revealed: "The EPs that I put out on Notown last year were like little side-avenues away from what I've been working on for my new album." Both Object is a Navigator EP and Modern Driveway EP were received exceptionally well ('Modern Driveway' being one of my personal favourite tracks of the year with its warm synths and delicate drums). Wysing Forest has been a long time in production and it hasn't lived up to the promise of 2012's EPs.

Opening track 'Two Minutes' is a gradually building and falling away exercise in synths; it wouldn't sound out of place on a James Holden or Jon Hopkins record as an interlude. It's an unusual opener and segues nicely into 'Amphis' which quickly changes direction and cranks up the intensity. The opening of 'Amphis' sounds like a R2D2 wailing and beeping on a lurching, malfunctioning electronic train - not in a good way. At 12:27 the track goes through plenty of significant changes which means each section is almost completely different to the one preceding it. 'Amphis' does fall into some beautiful low key synth work but it's everchanging nature is a reflection of Abbott's fanatic indulgence in using experimental hardware and software at the expense of song structure.

'Unfurling' is a continuation of 'Amphis' with it's experimental drone like structure before 'Free Migration' turns the sound in a different direction with a bright synth line. It's a welcome change and gives some discernible element to grasp onto as a basic drum beat, laser-esque effects and gas valve pop sounds decorate the track. It's the best track on the album for the before the laser sounds take over the track for the final 90 seconds.

'Highrise' is a lot closer to the more club friendly sound of James Holden yet still falls into needless overproduction with a synth effect that sounds like a Goomba from Super Mario games. Aside from the odd choice of sound effect, 'Highrise' and the following track 'Tree Spirit', are solid. 'The Balance of Power' is another experimental meandering track which doesn't evoke any real emotion before the abrasive engine noise of 'Snippet'.

It's important to accept that this is not pop music in any sense of the word. Wysing Forest is not going to provide any hooks or catchy riffs and this is to be expected, yet the lack of any discernible memorable melodies can prove challenging over the course of 54 minutes. This is an incredibly low-key album with final track 'Amphis (Reprise)' an example of this as it is essentially 8 minutes of gentle synths. Wysing Forest is at its best when unnecessary bleeps and clicks are stripped away and the gentle elements are left to do their work. If someone were to ask me: "how does X track go?" I wouldn't be able to answer. Maybe this is the point of the album, but it makes returning to it very difficult indeed. Wysing Forest has a time and a place but unfortunately falls short of the mark that was set by Abbott's previous memorable output and the work of his peers.

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