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Pink Floyds' David Gilmour and F1 enthusiast Nick mason proved this month that instrumental music, even the sort put together by two pensioners on a canal boat, can still make it to the top of the Official Album Charts. Flogging a whimsical blues jam is somewhat easier however with an extolled back catalogue to dwarf any other, it's not so simple when you're a trio made up of members from already existing projects, who themselves, boarder obscurity.

Rhyton - the name aptly sets the tone for the music to follow; derived from the Greek rhein "to flow" the Brooklyn-based outfit have opted for old school musicianship, basing most of their material on improvised, middle-eastern flavoured, classic rock-routed excursions. By its very nature, purely instrumental pieces have a certain leeway with structure - on the basis that it's easier to cogitate without audible boundaries and crude transitions - however with Kykeon they're attempting to mix purity with orchestration for the first time.

It would seem that one can deem a lot from titles with Rhyton, opener 'Siren in Byblos' being an obvious case in point. With its brooding, ever so slightly intensifying flow and ethereal mix of acoustic and electric instrumentation, the seductive and beguiling nature of this beast conjures those folky feelings of dread and macabre that have become synonymous with portrayals of Greek mythology. The cacophonous sounds that open this record are enough to suggest that although things are largely free flowing, there appears to be a shift towards more recognisable motifs and arranged passages than their self-titled debut and 2012's The Emerald Tablet.

The Mediterranean scales may largely dictate the mood of this release, but Rhyton are fundamentally groove based, taking their shape from psychedelic and prog-informed fumblings. Whilst the afore mentioned gentrified giants rested largely on Dave Gilmour's blues foundations, the Roger Waters driven experimentation evident on 'A Saucerful of Secrets' and the more defined 'Set the Controls For the Heart of the Sun' are natural comparisons for the base textures on Kykeon.

The interplay is intuitive between the band comprising of David Shuford (No Neck Blues Band), Jimy SeiTang (Stygian Stride) and Rob Smith (Pigeons). 'Topkapi' builds on a stable riff, gradually gaining more atmosphere and colour, while 'Gneiss' is the most dissonant and western-sounding on the album. Unlike the elaborate and lush production that graced the recent Last Ex record, 'Gneiss' takes a more understated guise in its attempts at the horror film aesthetic, with Tom Baker-era Doctor Who voices and bouzouki detailing.

Rhyton can be hard to praise at times. Their earlier works had a tendency to be aimless and border on monotony, a feeling that three proficient players were indulging in slightly elevated 'dicking about', but the coherence and composition on Kykeon is a credit to their restraint. This collection of tracks could be spunked on by a Joe Satriani-type noodle, and individually each member could break free and have their moment to shine, but instead they shun solos and move as unit, maintaining collective power and defiantly sticking to their modus operandi.

This latest effort isn't comparable with the visceral exoticness that Jimmy Page began to find on Physical Graffiti, but a more focused and staunchly unified project, designed to push the conventions of improvisational rock music and provide Rhyton's competent credentials with actual substance.

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