ebbsalbumcoverDubliner Conor Ebbs has been gigging since  2004, but only released his debut LP ‘Drifters’ last year. Well, the intricate weaver of folk is back with a new EP, ‘Multum in Parvo’, and he’s gone every direction but forward.

We open with Brixton, and lashings of those beautiful strings we’ve come to expect from Ebbs. However, there’s a heavy presence in the background that sounds a bit like a gas mask, baffling with a shaky start. We’re not expecting the kick-drum and bubbling synths that burst into force as soon as the instrumentals start to stick. It’s an odd mish-mash of genres not entirely confident in itself, an experiment that failed to keep the reigns in.

Slightly electro 80’s beats lay low under grand strings and it’s all a bit chaotic, spewing notes everywhere. It’s eager, that’s for sure, clinging on to trends and thumping everything in an attempt to make an impact. It falls slightly short on initial listens, but once you embrace the chaos there’s something intriguing left.

The gentle start to The Spell is traipsed on by Ebbs’ downfallen vocal. Lush instrumentals are weighed down by the dragging lyrics, not really sure of their message. It’s a story with no end. Again, with Nothing to Declare, it’s reflective but tethers on slightly-too-long, as if too many syllables are being quashed into a chord. Ebbs’ vocals are once again the star against a dreamy guitar.

‘Multum in Parvo’ is not a solid EP, it’s a different direction, but not entirely sure of what direction that is. All the downfalls of ‘Drifters’ remain, but lacks the big standout moments it thrived on.

It’s soundly crafted, sure. That warm voice is as comforting as the scent of burning peat on the fire, but it ultimately disappoints expectations that came from the big potential heard on Conor’s debut.