Build Make Microscope

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The distinctive soundscape of this CD stems from the unique church interior at Løgumkloster in the south of Jutland, Denmark. Beneath the high vaulting, in the cloisters and in the small hidden spaces of the abbey, the flautist Eva Østergaard (b. 1966) has recorded a series of layers of sounds on fl utes of all sizes from piccolo to bass. The music was written specifi cally for Eva, the church and this CD by five Danish composers, all of whom explore the remotest reaches of the instruments and the building.

The brain of futuristic autonomous systems

Séverine Ballon is not only a strong advocate for composers through her programming and commissioning; she has also created a characteristic mode of delivery and technique that has shaped the way in which people have composed. It is all the more interesting and gratifying, then, to hear how Ballon herself conceives music for her cello. Years spent improvising have fed into the way she organises sounds to the extent that hearing the works on this recording it seems almost inconceivable that this music could be played by anyone else on any other instrument (but it could be as there are notated versions). It is a truism to say that invention is spurred by limitations; for Ballon perhaps it’s fairer to say that her cello is a never-ending universe to explore.

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When I compose, I’m alternating between the micro and macro, shaping the details and then standing back to see how they make up the structure of the composition. While writing for this album I learned about diatoms, which are unicellular microalgae that live in the oceans and freshwater and soils. They contribute massively to the planet’s oxygen supply, and there are something like one hundred thousand species. From satellite images above oceans and lakes, huge blooms sometimes appear as beautiful zigzags and ribbons. Up close under a scanning electron microscope, you can see these incredible, ornate structures.

The unhurried artist’s first studio album in eight years is astonishing, intimate and demonstrates a refusal to be silenced. The Apple of 2020 is astonishing; as if she has returned to reinvent sound – the rhythms pleasing, but counter, and unusual. On the title track she half-sings over a makeshift orchestra of kitchen implements, dog bark and cat yowl. The beat on Kick Me Under the Table has a seething back-and-forth pace; the extraordinary For Her beds double Dutch skipping rope rhythms beneath a chorus of female voices.