With a CV that takes in such new music luminaries as the chamber group Alarm Will Sound and the bands Arcade Fire and Grizzly Bear, violinist Nadia Sirota is evidently a musician of no mean range and versatility. Her second album for Bedroom Community looks to the Baroque in various manifestations. Judd Greenstein focuses on the interaction between solo and tutti playing but the premise holds more potential than its indebtedness to Reich’s ensemble pieces from the mid-1980s suggests, while Shara Worden’s discreet decoration of modally inflected harmonies might have made the mid-1970s Brian Eno blush. Missy Mazzoli attempts something with rather more impetus and substance, which for all its overall unfolding feels contrived rather than organic, before Nico Muhly offers a study in rhythmic precision that engages without the disparity between violin and electric keyboard seeming more than the sum of its parts.

Much the best on offer here is still to come. Paul Corley amasses a texture of increasing expressive ambiguity and dark-hued eloquence in which the violin yet remains central to the music’s subtly layered evolution, while Daníel Bjarnason conjures a veritable orchestra out of the instrument’s overdubs which in themselves are much more ‘variations’ than any thematically derived source. It makes an evocative and atmospheric conclusion to an evidently uneven disc, which might have gained from a less claustrophobic sound balance than is consistently the case here – though this is no doubt what the composers and Sirota intended. A release that absorbs and frustrates in equal measure.