Alwynne Pritchard is an energetic and provocative presence on the British New Music scene. As she tells pianist Ian Pace, her compositional outlook was formed during her late teens by an interest in Karlheinz Stockhausen and Pierre Boulez, but she frankly admits that “I dragged many of their ideas unquestionably into the 1990s”. Now that we’re in the new millennium, Pritchard is questioning everything about her own musical assumptions and here are some of the answers, brilliantly performed by members of Pace’s Topologies ensemble. most striking are the muddy and scratchy tones of the electric violin work Matrix (2001), while the juxtaposition of tonal slabs against pointallistic fuzz heard in her Piano Quintet presents and intriguing collision of opposites. Pace performs the highly virtuosic semi-improvised solo piece Invisible Cities with his customary élan.