Burnheart is a German classical talent now living in London, whose conversion to jazz was refracted through Berlin techno. As a violinist playing modal jazz, she follows in the rare path of the Polish prodigy Zbigniew Seifert, who though he went electric stayed a Coltrane acolyte.

Burnheart's roots are less fixed, and violins anyway no more prevalent than synths and David Swan's Wurlitzer, as her debut explores a dancehall haunted by swirling electronic production and dub delays. Her violin's dark, slurring tone on ‘Plastik’ is intrinsically intriguing in jazz, and part of a slanting, noir sound-world on ‘Box Office’, as if the whole track has assumed her bow's physical stance. Often subject to primitive digital manipulation, its pizzicato peaks swoop into a swinging collage of dance modes in ‘Forever Dance’, while ‘Mensch’ sees choppy violin meet Swan's gently decorous, cocktail funk in an enigmatic clinch. There is an Afrobeat lilt to ‘Silence is Golden’, and Burnheart scats numbly. ‘Never Let Me Go’ perhaps goes deepest into her idea of German jazz, as her double-tracked, dreamy ballad vocal gusts through echoing sonic corridors over steam-hammer drums, hinting at Düsseldorf synthpop group Propaganda's icy cool.