The density of the ï¿½assemblages of soundï¿½ of this septet can achieve orchestral dimensions, but the ensemble is more concerned in deconstructing its timbral and pitch possibilities in duos and trios, and even when everybody is active the focus is on space, not layering. In that respect, nothing new here: Duke Ellington and Charles Mingus had both the same objectives when dealing with big bands. The difference lies in other aspects: Herculaneum mixes the jazz idiom with contemporary classical music and with the appealing melodies of the Romany gypsy brass bands. But there’s more: the project was born when drummer, vibraphonist and composer Dylan Ryan decided to do something in a jazz-rock context with his love for the music of Captain Beefheart. Things developed radically from there (sometimes the music seems composed by Messiaen, with arrangements by Gil Evans), but that identity remained. And that’s why Herculaneum associate musicians coming from the avant-jazz and avant-rock scenes of Chicago. So, be warned: you’ve never heard anything like this before.