Sean Noonan, who plays percussion throughout, composed the album to accompany a story of his; and is accompanied by a traditional string quartet line-up (two violins, viola and cello). Thus the album (obviously) has a quartet/chamber feel to it; immediately drawing comparisons with bands like Univers Zero, and to some extent the David Cross era of King Crimson. Theres a knowingly melodramatic, cabaret-esque aspect to some of the tracks; whilst others display a more rigorous, formal approach. The second piece, “Caught In The Act”, is a good example of this, creating a treacherous maze of staccato stabs; but, although it comes together at the end, it does feel like a good idea drawn out way too long - which is arguably my thoughts on the album in general. I like the instrumentation, and the overall thrust of “A Gambler’s Hand”; but there isn’t a track or section that sticks in the mind. This isn’t helped by the somewhat spindly sound - in as far as the ensemble often attempt “rock” passages, but without always having the gravitas to convincingly succeed: the cello on its own just isn’t enough to add the required “weight”. The album appears to be a nice blend of composition and improvisation, but I can’t help but feel that some of the apparent free-er sections could have been reined in slightly; although the bulk of the tracks are quite short, it really does feel like a long, arduous album.

This is not a bad project, far from it; but for me, the album outstayed its welcome a little. Condensed to an EP, I think the quintet would have greater impact. There are definite high points - the opening passages of “Lully”, with its slippery harmonies, are wonderful - but they are lost in a greater, less memorable whole.