Buyers of the physical version of this album, which made classical best-seller charts in the summer of 2025, will get an explication of the contents, much of it from composer Hannah Kendall, that contains a good deal of language aimed at the ideological environment of Columbia University, where Kendall received a PhD; one hears of “creolised sites of connectivity” (not to mention “créolité”), “the Plantation Machine and its ongoing feedback loop system that continues today,” and more in this vein. The deployments of the instruments in Kendall’s compositions reflect these ideas and embody imagery associated with them (“The timbral qualities of the radio feedback and interference” in the opening shouting forever into the receiver, for example, “serve to emulate…

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