Joshua Cavanagh-Brierley is certainly not short on ambition: as well as procuring the services of saxophone legend Chris Potter for this recording project, he's expanded its scope to showcase his talents as a composer for string quartet (the Ravel-influenced title track), as bassist and leader for a humungous ensemble boasting seven horns and no less than three simultaneous drummers (the fusiony ‘Brew’) and as a solo pianist (the wide-ranging, exploratory ‘Attachment’).

There's a hint of the epic sweep of the ubiquitous Snarky Puppy in the indie-prog-jazz of ‘Brew’, although such comparisons do a disservice to the leader's own originality of vision. ‘I'll Do As I Please’ has a brooding introduction that mutates seamlessly into a bubbling funk interrupted with some frantic stuttering tuplets from the rhythm section that recall the mid 1970s bands of Frank Zappa, while ‘Forbidden Words’ artfully contrasts the calm, understatedly affecting singing of Caoilfhionn Rose Birley with the churning of the multiple drummers to extraordinary effect.

‘Ophelia's Arrival’ is a triumphant piece of big-band stomp that has echoes of Don Ellis, and the mysteriously titled ‘You Can't Whistle A Haircut’ offers a similarly twisty journey though time and feel changes, serpentine unison parts, impassioned solo work from the sax section and gigantic orchestral swells leading to a terrific conclusion. Both leader and ensemble have the chops to deliver in all departments: the album as a whole is monumentally impressive, and while some may find the quantity of conservatoire-derived compositional devices and the sheer cumulative mass of musical information exhausting, the results are certainly unforgettable.