This must have been tremendous fun to make. A dozen percussionists, a ton of gear (they're very proud of the two moving vans they needed) and lots of mucking about with mics and tap dances on stage and all that. Some of that fun just ends up in silliness. Lots of xylophones dementedly plonking away. Some of it produces crashes and bangs that would have delighted The Prodigy. Some of the acoustics are a bit school orchestra. And some of it is exactly what you'd play from a tinny little speaker in a child's toy to produce that innocent/possessed vibe horror films so often need.
I have a spotify playlist called Try. It's stuff that I'm trying out, stuff I read about or hear about, it makes it onto the list for about a week to see if I like it. Then most of it disappears. But the odd song makes it onto a list called Listening so I can properly well, listen. Writing a bit about some of these will help me listen too.
I can't make my mind up about Win In The Flat World by Lorenzo Senni. It's half fascinating, half infuriating. It sounds to me (who am very, very old) like a song built entirely of the musical bits you're supposed to use sparingly, for emphasis and drama. It's like having a sentence built only of punctuation. And mostly exclamation marks. But I think it works. @#!!&?!!?!?&&*()%!!