In fact the bold and broad bowing of the cello is the central tone to the two most developed pieces across Lenticular Thoughts’ half hour. Both ‘Freud’s 2nd Movement’ and ‘Drone Returning to Hive’ focus solely on deep and dark layers of cellos that build solemnly and magisterially. Where they differ is in the first being an exercise in counterpoint as successive layers introduce new melodic lines whose interplay is suitable for soundtracking a dramatic dénouement, and the latter taking great delight in the constantly moving moiré effect at the centre of an otherwise immutable drone as the strings’ overtones collide while phases gradually drift to produce further enchanting interference.

In between these serious sedations is what sounds like someone playing around in an orchestra’s rehearsal room while the caretaker’s away. True to it’s title, ‘Repurcussions’ trials a wide range of orchestral percussive instruments such as kettle drums, wind chimes, gong, güiro and cowbell, creating a scattershot tip-toeing rhythm. While the addition of what could be a harpsichord and some choral samples fill some of the gaps to create a stealthier vibe, overall it can’t be taken that seriously, especially as a clown’s rubber horn peppers the piece.

On reflection, Lenticular Thoughts comes across as nifty sketches and experiments in modern classical composition. Most working with this sort of instrumentation handle them with reverence not nonchalance, but in Lenticular Thoughts’ case, covering both the pensive and the potty makes Noma’s other eleven releases for Kovorox an intriguing and noteworthy prospect.