Now in her early 30s, Anna Clyne was born in London, studied in both Edinburgh and New York, and is currently composer-in-residence with the Chicago Symphony Orchestra. The seven pieces on this first disc exclusively devoted to Clyne's music were composed between 2003 and 2011. All involve pre-recorded tape, whether juxtaposed with a solo instrument – cello in Fits + Starts, clarinet in Rapture, baritone sax in Choke – or adding weight to a much richer sound world in the ensemble pieces. It's clear that Clyne is fond of the big, almost apocalyptic effects the electronics allow her music to generate; Rapture builds to a screaming climax, for instance, while Roulette, for string quartet and tape adds neo-romantic gestures and quietly chirruping voices to the mix. But the delicate pizzicato patterns of Fits + Starts, the quiet tickings of the ensemble piece 1987 and the Reich-like tuned percussion riffs and speech samples in Steelworks reveal a more refined sensibility, too; there's something definitely fresh about Clyne's music, a quality that insists you stop and listen.