Given clubbing’s ubiquity, it’s surprising that there are so few club-culture-themed compositions. An outlier is Richard Baker’s sensuously thrilling The Tyranny of Fun; another now is Matthias Krüger’s Le vide à perdre for ensemble, which kicks off this German newcomer’s lively portrait album. Inspired by an Istanbul club, Krüger’s work conjures clubbing’s sensory overload through a barrage of lurid electrified ensemble sounds, most prominently electric cello, synthesiser and guitar. This electroacoustic polyphony shimmers like laser lights, with high registers and distortion to the fore.

Romitelli is an influence on Le vide à perdre’s psychedelic ensemble sound. But from this starting point Krüger strikes out in his own direction; if anything, he’s even more out-there than the composer of Professor Bad Trip. The use of tonality (Dorian mode and blues scales) welcomes the listener in; then comes microtonality, digital effects and accelerating glissandos to warp things. It’s hard at times to identify what instrument is playing, matching the disorientation of the techno club. In one section, bass drum takes prominence, pounding like an accelerating heartbeat. Ensemble Ascolta combine technical acuity with aesthetic languor.

The other two works vary in interest. The 25-minute Bellygoat Boom (substrate) for orchestra is like an update on Charles Ives. Fragments as diverse as U2, Moby and Mahler are overlaid in a cauldron of sound. At times the audio spectrum is saturated, from low brass through mid-range sustained strings to shrill high winds, all seemingly playing something different yet mostly cohering as a spectacle. In the playful Wie ein Stück Fett (redux), two surreal German-language sentences about a crow are spoken in sporadic repetition, with selected words and syllables over time replaced by nonsense vocables, plosives, pops and beatboxing. The voice is backed by a woozy atonal ensemble of overblowing flute, cello harmonics and plucked piano strings. Soprano Marie Heeschen excels; at one point, she breaks into Stimmung-esque overtone singing, backed by birdsong piccolo and tense clarinet multiphonics. The musical loops recall Bernhard Lang.