As evidenced by their explosive appearance on this year's epic The Tone of the Universe (= The Tone of the Earth) compilation, Leeds-based quintet Vibracathedral Orchestra (VCO) have long since earned themselves a place of honor in the international avant-drone firmament. In parallel with such like-minded contemporaries as Birchville Cat Motel and Richard Youngs, Vibracathedral have operated at their own unique nexus of Kraut-damaged rock, turbulent pan-ethnic folk, and Terry Riley/Tony Conrad-inspired minimalism. Before now, however, all of the group's copious output-- at least 17 full-length releases in various formats-- had been recorded live directly to two-track. But for Tuning to the Rooster, VCO joined producer Richard Formby (Spaceman 3, Spectrum) in a full 24-track studio, an upgrade that has resulted in what is surely the group's most vibrantly detailed eruption to date.

Centered since their formation in 1998 around the veteran axis of Julian Bradley, Neil Campbell, and Michael Flower-- and here joined by longtime regulars Adam Davenport and Bridget Hayden-- the group's work has always possessed the ornate density to justify the "Orchestra" designation despite their relatively small roll-call. Perhaps it's appropriate, then, that the four lengthy pieces gathered here can resemble the movements of an extended drone symphony, one that is clearly best absorbed in its entirety. The album's adept symmetry and cohesion seems particularly noteworthy considering that each of these pieces has previously appeared elsewhere in the VCO discography in an alternate or abbreviated form.

Shorter versions of the two opening tracks both originally appeared on VCO's 2002 split LP with Jackie-O Motherfucker. "Baptism>Bar>Blues" commences the album with the group already in mid-sunburst, as their lacerating layers of violin, guitar feedback and roiling percussion quickly reach prolonged crescendos that sound as if they've already been building for hours. Before long, this view dissolves seamlessly into "Wearing Clothes of Ash," a 17-minute edifice of drone featuring placid ripples of piano that pierce through the ongoing sandstorm din like tiny shafts of starlight. On this track the higher resolution of the album's production is particularly effective; where on previous records Vibracathedral's individual instruments might all be consumed into one singular monochromatic blur, here each jagged note is free to swirl past with microscopic, technicolor clarity.

Following next is the violin/harmonium/electronic stomp "Stole Some Sentimental Jewelry", which conjures Cale-era VU improvising on a sabre-rattling Eastern European folk motif, while "Girls with Rocks in Their Hands" encircles a ambient riff with a steadfast patience that suggests that Vibracathedral Orchestra might easily be capable of prolonging its repetitions indefinitely. And since Tuning to the Rooster cuts off with the group still arched in mid-swell, when set on continuous play this finale can be joined almost imperceptibly back to the album's beginning to create a Mobius Strip-like listening experience, one whose mesmeric loops you'll be happy to uncoil for hours.