Given his prowess as trombonist and abilities as conductor, Christian Lindberg could hardly be called a ‘jack of all trades’ when it comes to composition, even if his avowedly intuitive approach to the latter has so far produced a stream of enjoyable if hardly memorable works.

As seems the case here. Inspired by wave formations off Australia’s eastern coast, The Waves of Wollongong (2009) translates this imagery into the interplay between nine trombones and orchestra, resulting in a sequence of eventful vignettes given cohesion largely through their contrasts of motion and dynamics. The New Trombone Collective audibly relish their turn in the spotlight, before the raucously affirmative close. Rather more subtlety is evident in Liverpool Lullabies (2016), less a concerto than a fantasy for percussion and orchestra based upon the composer’s journeys around the city together with childhood memories that likely set the mood for these engaging and always affectionate episodes. Not so much a day in the life as a journey from the first-person perspective that Evelyn Glennie graces with no little finesse.

Most ambitious here is 2017, a work that started out as a latter-day counterpart to The Rite of Spring but ended up chronicling the composer’s experiences across the year in question; the titles of its (continuous) sections make explicit his response to the upending of assumed values in what becomes a struggle for the reassertion of truth. Whether its attendant tone of reconciliation proves at all premature only time will tell, but the enthusiasm of the Antwerp Symphony’s response conveys a belief in the essential rightness of Lindberg’s observations.

All three works gain from the superbly defined ambience of Antwerp’s Elisabethzaal, along with the composer’s pithy introductions. Anyone new to Lindberg should first hear his viola concerto Steppenwolf (8/18), to which this new release provides a worthwhile follow-up.