There was no danger of being suffocated in the crush at Philip Clemo's Brick Lane gig last week, but the composer and film-maker's new venture Separated By Shadows (an acoustic/electronic melange played against a visual backdrop of waterfalls and volcanoes) was a powerful piece of contemporary chemistry that deserved a bigger welcome. Clemo's bottom line is a furious drum-machine-like thunder with a mix of samples and acoustic sounds weaving through it.

But in choosing free-jazz virtuosi John Edwards (bass) and Mark Sanders (drums) to run the engine-room, with Asian flute specialist Clive Bell among the decorative elements, Separated By Shadows was never going to be just an electronica exercise. Sanders and Edwards constantly added disruptions of pulse and phrasing to an implacable, battering dance-culture percussion/bass mantra. Clive Bell, looking like a bemused Oxbridge don, blew windy, hooting sounds from a variety of wooden instruments. Tom Chant unleashed soprano sax and bass clarinet squalls that were often submerged in the mix, but sometimes sprang to the surface.

Over a single set, with cascades of water and geothermal eruptions shifting between abstract video patterns and realism on the stage-wide screen behind, the group sound appeared to change only gradually. Tabla sounds (Orphy Robinson on percussion) rattled in and out, and in one quieter passage Chant's bass clarinet against plaintively echoing wooden-flute and rustling electric-forest noises suggested a Bitches Brew for the post-rave generation. High flute whistles were set against hovering synth chords and bleeps like submarine sonar. Ambient-pop chord patterns built to a huge, clamorous anthem, driven by a towering performance from drummer Sanders. A bold use of volatile elements to end up with a vivacious contemporary music; at once spontaneous and cannily coherent.