Turkish percussionist Berke Can Ozcan’s new EP, Cicadas and Kitharas, packs a lot of atmosphere into four tracks clocking in at just 24 minutes, economically evoking a timeless, mythological landscape simmering in an eternal heat haze. Throughout, Ozcan is happy to take a back seat, entrusting the bulk of the tunes’ sonic identities to his collaborators, the influential Turkish guitarists, Sarp Maden, Serdar Ateşer and veteran pioneer of fretless guitar, Erkan Oğur.’ Underground Nymphs’ starts with subliminal backwards whooshes and a subdued, ambient howl, with Ozcan’s cymbal cutting through, suggesting a languorously jazzy, minimal approach to timekeeping. Slide guitar provides a yearning wail reminiscent of Meddle-era Pink Floyd while a three-note circular bass vamp suggests a diaphanous, cosmic blues. ‘Never Alone’ steps out doors and out of time with cicada sounds and mellow metallophone invoking a white-bearded, ancient Hermeto Pascoal jamming in primordial nature, while tendrils of slide guitar entwine like a sentient jungle creeper. ‘1901 Burning Down’ is perhaps the set’s most unguarded nod towards rock – albeit a gauzy, untethered vision of it – with electric guitar arising out of a shimmering mirage to achieve a raw lyricism intercut with lachrymose slide. Finally, ‘1200 Years Ago,’ brings things back to a pastoral idyll, with Erkan Oğur’s delicate acoustic guitar ruminations cushioned on clouds of rumbling cymbal. Taken together, this unhurried suite proposes a dreamy, texturally ravishing approach to improvisation that proves there is always more to be discovered.

Daniel Spicer