Every time I come across an album where I do not recognise a single name behind it, the thrill is real – will it be great, terrible or somewhere in between? Naturally, there are no expectations of the music and no assumptions about what it might be. This was largely the case with Exhaustion/Proliferation, an album from the Insub Meta Orchestra released on Sawyer Editions. And since the Texan label focuses on highlighting new and unreleased artists, it certainly succeeded – at least for me.

With little in its catalogue to shape my expectations, the music remained a mystery. The only clue was the label’s subtle leaning towards what could loosely be described as the ‘reductionism’ genre – a style characterised by minimal material, quiet dynamics and often improvised gestures. This intimate, chamber-sized idiom typically thrives on the subtle interplay of a smaller ensemble, which made it even more exciting to discover what the Geneva-based orchestra of about 60 musicians could do. Sadly, they never perform in full, and on this recording – as in their concerts – there are just under 30 players. Since its inception in 2010, the Insub Meta Orchestra has been exploring the musical and social dynamics of large groups in improvisational contexts. Behind the ensemble is an umbrella organisation whose various activities – a record label, a large orchestra, two non-profit associations and a smaller collective, among others – are rooted in ‘so-called experimental music’.Footnote ¹ How could such a provocative description not immediately spark curiosity?

Exhaustion/Proliferation presents two eponymous pieces, created by Cyril Bondi and d’incise (Laurent Peter) in 2024 for the orchestra, with Ed Williams contributing to the chord choices. Alongside more conventional instrumentation – voice, flute, electronics, clarinet and cello, among others – one encounters the timbres of shakuhachi, shruti box, viola da gamba and spinet. The first work, Exhaustion, is aptly named. According to the description, the piece provides musicians with a variety of directions and interactions within a guided timeline. Over its 25-minute duration, the orchestra explores various permutations of a recurring idea: an arpeggiated chord played by acoustic and electric guitars alongside a spinet, followed by long, sustained tones and percussion.

This motif is strong and colourful, giving the entire composition its identity: over and over, the initial burst of activity decays into sustained tones – each time until a new point of exhaustion is reached. Heavy and solemn, the occasional rests reinforce the arrival of yet another musical thrust. There is something Feldmanesque about this repetitive stasis-cum-flow, as the music brims with a myriad of timbral combinations, with one sound morphing into another. The occasional disappearance of the main arpeggiated chord, with its resonant sonority, does the trick, as does the abundance of gritty textures which take hold towards the end of the piece. Above all, what is truly striking is how every player knows their place: the music and its pacing feel effortlessly natural and far from forced. There is enough timbral, motivic and range variety to make this journey from start to end thoroughly absorbing.

The second work on the CD, Proliferation, offers a distinct contrast to Exhaustion, centring itself around the concept of echo, with fragments of the piece recorded and replayed through smartphones. The opening is bass-heavy, with deep, plucked tones and percussion forming a steady-yet-loose pulse that drives the music forwards for the next 25 minutes. Once the scene is set, high-register sustained tones emerge, shading the soundscape in shifting colours. At times, the music takes on an almost psychedelic, prog-rock quality. It simmers slowly – with minimal movement – creating a sense of gradual expansion without ever fully unfolding.

Here, repetition conjures images of an ancient ritual, its incessant character lulling the listener into a state of absorbed trance. Amidst this hypnotic haze, the occasional vocals stand out – offering a sharp reminder of the human presence behind this arcane music. And while Proliferation captivates – particularly through its pitch material and the progressive ‘dancification’ of its mosaic groove – it feels more static than Exhaustion, with fewer shifts in momentum or intensity. The pulse, though effective in establishing a rhythmic foundation, can at times feel restrictive.

That said, such impressions are highly subjective and in no way diminish the sheer artistry of the musicians involved. It is precisely this musical rigour, the sense of self-discovery within a large ensemble and the ability to create space for one another, that defines the Insub Meta Orchestra’s approach. Their 15 years of experience together shine through in every musical gesture. They maintain the lightness and fluidity of a smaller ensemble, never making the music feel contrived or overwhelmed. For the eager listener ready to explore the fringes of minimal material, this album serves as an ideal introduction to the collective. A special mention goes to the album art: a black-and-white photograph of a massive cargo ship stacked with containers; a striking visual parallel not only to the ideas explored musically, but also to the relentless scale of global trade and its impact on society and the environment.