Elijah McLaughlin Ensemble - Elijah McLaughlin Ensemble II (2022)

Elijah McLaughlin Ensemble II really is a fascinating album, and it’s not surprising that Tompkins Square, one of the most discerning of labels focused on avant-garde guitar music, decided to snap it up. Chicago-based Elijah McLaughlin and his band of Joel Styzens on hammered dulcimer and Jason Toth on upright bass have followed their 2020 debut with a multi-faceted and highly creative set. The solo instrumental guitar, or American Primitive, influences are certainly there, particularly Robbie Basho. On Arc, the deep drone notes and bowed bass are accompanied by free acoustic playing that utilises brittle guitar bridge strums to provide the music with an eastern flavour, albeit with teeth: there are echoes of Bill Orcutt’s solo acoustic work along with Basho on this one.

It’s unsurprising to read that the songs here were recorded with a strong improvisational bent; there is a spontaneous energy alive throughout that suggests first, or few takes, therefore harnessing that creativity. This is present from the off, with Zodiac Rabbit immediately allowing each player to introduce themselves with parts that ebb and flow, creating an intensity that characterises much of the album. The melody, when it hits after a couple of minutes, is wonderful and sees each player drop into a tight role, nailing the piece. Wheel is more traditional in its structure and runs with a steady tune, allowing each player room to stretch in places before coming back to the core of the song.

The plucked and bowed bass parts enhance and underpin an urgent melody on Spring before the mid-point of the record is upon us with Interlude. A smaller, guitar-led song, Elijah’s playing has hints of Bert Jansch about it here, and his refrain is gorgeous, embellished with anxious bowed notes and excited dulcimer playing. A minor tune by its very title, this little nugget is a joy. It leads beautifully into Viroqua, a more pastoral piece in its sound, immediately bringing to mind Jim Ghedi’s Hymn to Ancient Land album, with sweeping bass and flowing guitar playing giving this song a summery, natural character.

Further on, both Blind Alley and Effigy immediately bring in a more sinister edge to the music, with the background knocking (presumably with the dulcimer hammer) of the former being a slightly unsettling high point. This is a good primer for the final song, Confluence, possibly the most exciting of the set due to its free and feral nature. Elijah provides the chassis here with a nimbly picked pattern that allows both other players room to be creative. Again, Jason’s elastic low notes are bewitching, but Joel’s eerie dulcimer playing brings energy and unrest into the upper registers. It is a beautifully balanced piece and a wonderfully free way of ending a highly charged, fascinating and dynamic album, played with skill and focus.