Pepijn Caudron’s Kreng project began life as a strictly sample based affair, blending the sounds of free-jazz, electro, modern classical and esoteric field recordings, but it eventually mutated into more of a dramatic device used by various film and theatre directors, most notably for the macabre speechless performances of Belgian theatre company Abattoir Ferme. Grimoire is steeped in cinematic grandeur, but it’s a dark, dystopian kind of cinema: snatches of sampled speech and distorted gasps wrestle swollen bass leviathans, drifting orchestral zeppelins are punctured by sudden spears of percussion, and the rattling chords of prepared pianos are borne away on undulating rafts of detuned cello.