“There comes a violent love” is a strange yet intriguing four-part suite that was influenced both by Greek playwright Aeschylus and the author of “Histoire d’O”, Pauline Reage. Headley does not think of it as a “soundtrack for their work, but the structure of the music found shape in their writing”. A simple fragment of piano melody introduces a heavy drone, then sounds of rain, wind chimes and additional melodic particles are heard from a distance. Amidst silences, metallic frictions, scribbling sounds and keyboard stabs break up the stasis, after which layered organ notes create distortion, dissonance and flanged beatings of adjacent frequencies. More concrete sources appear, and echoes from the past are depicted through locked loops and TV evocations; even the most apparently “romantic” moments contain the seeds of unquietness. The third part, which the composer defines as the “signature” movement, presents a consecutiveness of organ strokes over which semi-improvised flute pitches and piano chords (by Toshi Osawa and Yvette Caldwell) leave us in a state of detached, if a little apprehensive contemplation; the resonance elicited by the organ is at times extremely powerful. The mini suite ends with a synthetic theme that leaves puzzled enough, then the sound of the ocean stamps the final signature. “Pulse”, which completes the release, is a long two-chord study for a pair of real-time synthesizers, definitely consonant and vaguely hypnotic, slightly rippled by metallic intromissions and “outer space” waves; not exactly groundbreaking, but delicate enough, it balances the more fragmentary character of the title track, and it’s dedicated to the pioneering artist Marina Abramovic, herself an explorer of repetition and duration. The CD is a limited edition of 50 copies.