The use of atmospheric sound is very tricky to utilize in a way that sounds appealing and marketable. It’s been experimented with time and time again with some major success stories here and there, but most of the time, attempts at such a fragile genre end in obscurity. I can’t predict what the future will be like for Serena-Maneesh, but Abyss in B Minor, has got something most poorly produced albums of its kind don’t: driving force.

Recorded in a cave (yes, literally, a cave), there is a sense of natural simplicity to the album. It’s organic and healthy, as opposed to having the feel of being hastily cut and pasted together.

Music that would generally require an acquired taste becomes universal as it echoes across the cave walls to form a unique sound to each of the eight songs. If you can’t get off to the pounding, reverberating chaos in the opening track, “Ayisha Abyss” there’s always something a bit cooler around the corner like “Melody for Jaana” with its sharp female vocal. But be certain to expect a mess of pleasant static throughout.

I am often skeptical about the use of effects and reluctant to listen to anything more intrusive than The Velvet Underground, but I must say that Serena-Maneesh has broken my barriers and I am happy to say that Abyss in B Minor is a great, innovative record.

(4AD Records, 17-19 Alma Road, London, UK  SW18 1AA)