A slim discography barely hints at violinist Sarah Plum’s prolific career as a ‘new music specialist’ but confirms her engagingly adventurous sensibility. Plum’s debut solo album, ‘Absconditus’ (2011), focused entirely on the music of Sidney Corbett, one of several composers with whom she has forged collaborative connections and friendships. It was through Corbett that Plum met the Japanese composer Mari Takano, whose Full Moon (2008) prompted the keen interest in music for violin and electronics that is on display on her latest solo album.

The seven compositions gathered on ‘Personal Noise’ document Plum’s exploration of this field; five of them were written for her, and she has worked with all seven of their composers. Eric Moe’s Obey Your Thirst (2014) opens the way into her beguilingly imaginative and far-ranging programme with a colourful electronic outburst that soon takes shape as a restless, rhythmically animated chase, the acoustic violin by turns responding and instigating. Although entirely acoustic, Eric Lyon’s Personal Noise with Accelerants (2015) uses computer technology to shape what the composer describes as ‘a noise composition in which the formal structure is generated with white noise’.

The programme shifts direction with Kyong Mee Choi’s gorgeously shimmering Flowering Dandelion (2020) and the astrally swooning Sarahal (2013) by Mari Kimura, which enlists a second violinist (Yvonne Lam) in a mystically surreal duologue with interactive electronics. Jeff Herriott’s probing after time: a resolution (2013) coaxes tentative sonorities with deep mindfulness, while Charles Nichols’s perpetual-motion Il Prete Rosso (2014) deconstructs Baroque virtuosity, tracking Plum’s bow arm with a motion sensor as part of its interactive electronic process.

Plum’s remarkably expansive palette of conventional and avant-garde techniques intensifies the pleasure of discovery across these fascinatingly varied soundscapes, concluding with the episodic, exuberantly innovative Full Moon, Takano’s response to one of Pina Bausch’s last ballets.