t’s one thing to release a record bandying about a thousand influences; it’s quite another to actually integrate all those influences into a cohesive whole. Luke Sutherland melds a plethora of sources – classical, post-rock, jungle, and even the dreaded trip-hop – into a sun-drenched symphony on Cassidy, the second album from Sutherland’s solo project Bows. Sutherland did time with post-rock multi-instrumentalists Long Fin Killie, and his musical chops shine through all over the album.


Things start off beautifully with “Luftsang,” a soaring symphony assisted by a bombastic drum beat that would make John Bonham proud. Guitars sail on pure bliss, along with strings, piano, and bells (which continually show up throughout the album, a refreshing addition). Signe Hoirup Wille-Jorgensen provides some fragile soprano crooning (which obviously begs a comparison to Portishead). The song is nothing short of gorgeous, and a bevy of instruments effortlessly combine to creating a stirring album opener.


Sutherland can play things down as well. Cassidy contains a number of spare, ambient pieces reminiscent of Labradford or Godspeed You Black Emperor at its spaciest. But Cassidy really shines when Sutherland pours the lilting arpeggios on thick. “Uniroyal” fuses chiming bells and a jungle beat, building up the bells into a deep 808-ridden breakdown, which then layers strings, multiple vocals, bells, and assorted breakbeats. Sutherland has obviously talent in arranging and producing. “DJ” proves this further, evoking sort of a Christmas carol that somehow fits perfectly with a jungle beat (seriously). The chorus explodes into a lush symphony fueled by a blazing guitar riff.


Sutherland also benefits from having a distinctive vocal style, a raspy tenor that stays restrained while belying an obvious vocal ability. At times he sounds like Trent Reznor at his most hushed, especially in “Ali 4 Onassis,” which could pass as a Downward-Spiral era Nine Inch Nails song with it’s rumbling bass roll (some flute flitters would give the secret away, however).


Cassidy is unique in that although it wears its influences on its sleeve, it synthesizes the parts into something new and fully realized (In this way, you could compare it to Clinic’s Internal Wrangler). And it has the potential to appeal to a wide variety of listeners: from shoegazers to trip-hop heads, maybe even to some more adventurous fans of classical music. Bows displays obvious talent; here’s to hoping the project’s next album will receive some attention.