This percussion-with-live-electronics roadshow features a packed programme of serious, wholesome stuff.
Joby Burgess has an engaging but relaxed playing style, and makes a convincing case for spontaneous virtuosity and expression within this repertoire, despite the finely honed automated elements of his extensive software and kit.
The best of tonight's programme showcased this: the staple of the maracas repertoire Temazcal by Javier Alvarez is always a treat, as is Graham Fitkin's cutting-and-splicing of Rumsfeld and Bush Jr’s Chain of Command, a Burgess speciality.
Central to the programme is Gabriel Prokofiev's probing suite Import/Export - Suite for Global Junk, which finds Burgess playing an oil can, shopping bags, drinks bottles and a wooden pallet, and duetting with live manipulations of the same sounds, which at times build and become immersive.
The piece perhaps isn't the tour de force it sets out to be: the individual movements drag once the general timbral nature of each object has revealed itself. Burgess showed exhaustive dedication in squeezing out every last possible sound from the junk - but beneath this sonic exploration, it's short on musical ideas.
Steve Reich's early tape loop project My Name Is, which uses audiences voices recorded on the night, proved difficult to realise instantaneously in the magnetic tape era. It's much easier digitally, and tonight sound designer Matthew Fairclough began the piece no sooner than the words were captured.
A Reich rarity is an exciting prospect, but with the sounds being generated there and then, this was more like a drone-heavy piece of free-improvisation, having none of Reich's ingenuity with colour or structure.
Otherwise, Fairclough's real-time management of the electronic sound was solid all evening, and his own piece The Boom and the Bap was a noisy highlight.