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Beatrice Dillon mints her new label with her first entirely acoustic work, performed by Explore Ensemble and commissioned by Mark Fell. Stunning, major work, RIYL CC Hennix, John Cage, Pascale Criton, Helmut Lachenmann, Morton Feldman.

The naturally open-ended navigation of themes in Seven Reorganisations is exemplary of an artist whose thoughtfully considered catalogue is hailed among the most notable in modern experimental music. Beatrice Dillons first entirely acoustic composition allows her ideas on fundamentals of space and light, structure and tone, to unfold in beguiling, inspirational new directions unveiling whole new facets of a musical vision that continues to reveal itself with each new release.

Derived from a Mark Fell commission, the album features a version recorded in a London studio setting, and another taken as a live recording made at ZKM Karlsruhe in 2023. The same compositions are here articulated by the same performers, distinguished by subtle alterations of atmosphere and dynamics on each side. The studio parts remain tethered to Beatrices practice with the use of discrete edits of drily close-micd parts judiciously rearranged across the stereo field with a near-hallucinatory minimalism. In exquisite juxtaposition, the live iteration relinquishes that control to Explore Ensembles sextet of players cycling the pieces musical cells in a reverberant room. The recordings encourage listeners to revel in psychoacoustic frissons of overtones and microtonal, timbral intricacy, whilst also highlighting the way her score appears to prompt the performers to stop, breathe, listen and look around them, before deciding where to go next.

The schisms of fixedness and ephemerality to Seven Reorganisations are surely in keeping with Dillons enduring obsessions with structure and motion in organised sound, but can also be attributed to an ever expanding grasp of interrelated artforms. Extramusical cues from W.R. Bions psychoanalytic assertion Inability to tolerate empty space limits the amount of space available, and the deconstructionist philosophy of S. Koreas Byung Chul-Hans statement, Leaving things out, to better hear whats kept in, are guiding principles as much as the misty depth perception found in Hasegawa Tohakus C.16th Japanese folding screens, or the shifting focal points of Terri Weifenbachs photography (as featured on this albums cover). Perfect metaphors for the way the composition and mixing seduces you into its filigree detail and use of negative space – the listener activating its latent detail.

Comparable to Cages In a Landscape in its etheric, harmonious beauty, or Pascale Critons INFRA in how the music feels out the spaces in-between, Beatrices clean diversion from club music exposes a related, but whole other, architecture of sound that propels the imagination, embodied in reverie. Close listening rewards with passages of frankly astonishing iridescent beauty in the arp flutters of Seven Reorganisations I and sublime tension of its lulled lacun in Seven Reorganisations II, with an absence of repeating melody that makes return journeys feel like revisiting a perpetually unresolved, waking dreamscape.

Performed by Explore Ensemble:

Siwan Rhys – piano

Taylor MacLennan – bass flute

Alex Roberts – bass clarinet

David Lpez Ibez – violin

Morag Robertson – viola

Deni Teo – cello

Nicholas Moroz – artistic director”