Fort Evil Fruit cassette and download 

Wild clusters of notes tumble from the piano, rough-hewn chords from some barroom stride player drilled into uneven chunks before being lobbed into the air. They’re muscly and dissonant, but melodic too, odd-shaped but always tessellating into beautiful, random patterns.

Only about a third of the pieces on Delphine Dora’s L’au-delà use the piano as their primary instrumentation, but these are the pieces that stand out, at least at first. Dora’s playing meets at the junction of Monk’s broken physicality and the minimalist, hammering repetition of Terry Riley’s Keyboard Study No. 2, the density of the latter crossed with the fluid breadth of the former, all the while holding a jewel-like glint of beauty close to its heart. It’s there in the warm, swirling world of Jaillismentes Cathartique, the gusting flurries of piano and clamouring voices a benevolent storm that wrap us in thick clouds of colour…