Emily Francis Trio: Luma

Luma is the second album from Britain's Emily Francis, following 2015's Absent (Self Produced). Luma appears to have been ready to roll in 2020 and the delay has, presumably, been occasioned by you-know-what. The group's lineup has changed since the debut album, with new drummer Jamie Murray joining keyboard player Francis and bassist Trevor Boxall.

Vibe and groove, however, inhabit the same techno and prog-influenced territory, with historical resonances including Frank Zappa circa Hot Rats (Bizarre, 1969) and a little late-period Esbjorn Svensson. Francis is heard on acoustic piano on a couple of tracks but mainly plays layered electric keyboards and synths. Boxall plays electric bass exclusively.

Described in broad brushstrokes, the first half of the album is hot and fierce, sometimes going on in-your-face aggressive, and the second half is cooler and more reflective. Tunes comprise compact, iterated riffs and motifs on which Francis is more concerned with textural than harmonic invention. Bass and drums ostinatos anchor most tracks, with prog-like rhythmic gymnastics sometimes playing cameo roles.

This well-crafted album is likely to appeal to the same community who are enjoying two other techno-savvy albums released in 2021, violinist Johanna Burnheart's Burnheart (Ropeadope) and violist Ola Kvernberg's Steamdome II: The Hypogean (Grappa). Luma is not as elaborately assembled as either of those two excellent albums. There is, however, a nice touch to the crackling last few seconds of the penultimate track, "Backseat Driver," as it appears to decay and disintegrate, its pieces spinning off into deep space. More of this, please.

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