Is nothing sacred? When it came to sampling, stealing and re-spraying other people’s tunes, Baroque composers didn’t think so. I won’t go so far as to claim Handel would have liked what this bunch of DJs, mixers and maverick composers have done to his material, but he may have been gratified that, more than two and a half centuries after it was written, his oratorio still provokes new music.

In this sonic environment hallelujahs are hijacked and samples rage most furiously together. Various transformation techniques are used on the Naxos source recordings. Choral and orchestral samples are layered, overlapped and stitched into synthesised drones. Fragmented voices skitter among electronic ambiences with abstracted instrumental lines embedded within. Sometimes you get an effect akin to rapidly oscillating the volume knob on a transistor radio (we all did that as kids but it wasn’t considered art then) or poking the search button.

Tod Machover opens proceedings with a dense collage. There is nothing innovative here, little that Stockhausen didn’t do four decades ago, usually rather better. Nor is there anything to give you a genuinely new perspective on Handel’s work. What you do get is that disorientating yet pleasurable sensation of encountering something very familiar in an unfamiliar context, and some pieces, including those by Ms Sonami and the antisocial Mr Scanner, build absorbing soundscapes which achieve a certain majesty not entirely alien to the mood of a Handel chorale. I have continued to play several of the tracks beyond the requirements of duty.