According to Stefan Östersjö’s notes, a rhizome is ‘a figure of thought that questions linear thinking and hierarchical structures’ (botanically it relates to root systems) suggestive of the structures in the recent music of Christer Lindwall (b1950). The idea is that each point can be joined to any other point and there is certainly a connection between the works on this new, sonically rich Phono Suecia issue: three bear stylistic pointers towards the largest, newest composition, White Nights (2000-02), a chamber concerto for alto guitar and ensemble; all feature prominent parts for various types of solo guitar; and all share some elements of extramusical inspiration, albeit often superficially.

So what do the works sound like? A noted exponent of electroacoustic music, Lindwall’s sound world is studiedly experimental, delighting in juxtaposing everything from the unusual to the irreconcilable. Earth Bow (1996) is a volatile, vibrant quartet for saxophone, trombone, electric guitar and percussion, whereas A Certain Ratio (1998-99) is a virtuoso quintet for alto guitar and strings which alternates the vigorous with the wistful (aided by the guitar’s scordatura – repeated in White Nights). The guitar-writing in One Millimeter of Light (1996-97) reminded me of Henze despite differences in harmonic language. Indeed, there is much here and in the shimmering Wenn sie so, dann ich so und Pferd fliegt from 2000 (the title is a quote from Nabokov’s novel Pnin) that is close to the European mainstream, not least in its use – some might say abuse – of jazz-like sonorities. In quality Wenn sie so… almost overshadows White Nights, which is in every way a synthesis of the musical concerns of its companion pieces. The performances here, by some of the cream of Sweden’s younger virtuosi, are – like the recording – of demonstration quality.