The release appears on British label Another Timbre- who specializes in all manner of modern classic, modern composition, and improvisation based releases. The CD comes in the label house style packaging; which is a mini white card gatefold with minimal black texts. And a  four colour artwork cover- taking in a colourfully shape based modern art painting by artists/ improvisers Lina Lapelyte & Rhodril Davies.

Joining Tilbury( paino), we have the following players: Angharad Davis( Violin), Rhodri Davies( Electric Harp & Melodica), Michael Duch( double bass), Lina Lapelyte( Violin & Voice), and John Lely( Objects, electronics, and Melodica). 

First up we have a piece by Sarah Hughes- whose work covers a fair few mediums, going from modern composition, sculpture, installations & improvisation.  The track here is a 2015 piece entitled “A Reward Is Given For The Best Inframamary Fold No 4”. It’s comes in at the just over the 13 minute mark, and sets the tone nicely for the rest of the release with it’s taut, sparsely simmering, and angular unfold. The piece is built around a series of often sustained string drones & the occasional picks. Along with slowed & moody piano notation, and hazes of simmering (though mostly subdued) electronics. The track starts in quite a slowed & considered pace- with the slow angular plods of piano meeting  tight string drones, saws, and neck fiddles. But as it progresses we get the addition of sustained high pitched electronics, and more string layers, and by the ninth minute it’s built up quite a focused, intense, and airless sonic picture. After  the 10th minute things pare back once again.

The other two already composed pieces come in the  form of “First Page Of Five”- which is a 18 minute composition by  John Lely, that finds slowly circular & angular drifts of strings, carefully picked melancholic-to-doomy piano darts, and subdued electronic simmer 'n' rattle blended together. 
And “Circular Music No.6” by Swiss composer Jürgen Frey- this is the shortest track here at seven minutes.  Here we have very ghostly yet taut blend of: compressed & short double bass darts ‘n’ fingers, breathing sounds, circular scraping textures & string neck fumblings, very  controlled melodica blowings, and minimal string saws. The tracks creates a great alien & edgy feeling, and really it all felt over too quickly. I could easily listen to this type of thing for twice this length.

The other track here is of course the group improvisational piece, and this is entitled “Goldsmiths improvisation 31.08.15”.  This just under twenty minute opens with a distant, yet high pitched grainy electro smog- out of this comes a blend of clustered & lulling piano notation, & swirl slow-mo webs of strings saw.  From here onwards the track nicely moves from more stripped back yet airless, to more taut & tense build-ups.  Going  from beds of electro simmer sewed with tighter meshes of compacted string saws & murky melodica. Onto doomed & slurred piano wonders ridged by swirling malevolent blend of string simmer, and eerier fumbling double bass. Through to eerier textural scratching laced with inside piano pickings & sea-sick electro harp sears. And beyond. All told it certainly is an eventful & creative improvised track, which is full of surprises.

So in conclusion Goldsmiths is a most worthy journey into modern classical composition & edgy improvisations, with each of the six piece putting forward a most subtle yet tautly atmospheric performance.