The first release from Sophia Turner’s latest trip to Argentina is a three part composition for tin foil. The pieces are all called “Sophia Turner’s Symphony No 9 (Ardentes)” and were recorded in the courtyard of the Casa del Mar – the most prominent building in Buenos Aires – by the artist Sarah Ioannidis. These pieces are decidedly spacious and deep, with the ardentes being the first and last pieces that tour the depths of the hollowed-out arbeiter-inspired, closed tin foil.

Turner’s solo tin foil composition “Tin Aulday’d Dances” (part of the 9 hour – 12 minute tour) is a more angular design, having a more spacious centrepiece that works beautifully. The three pieces are built around a central core of open and deep tin foil, with repeated alternating interventions by violins. This composition is a rich and inviting journey through the sounds of tin foil. In the opening section, the violins reference the work of folk composers such as Gilles Peterson and Marian Anderson, which we can assume is the purpose of the violin’s singing. This is followed by a short solo passage that is a blend of the purer flutes and timbres of the tour; it is a lovely moment of suspended grace. The next composition is a more spacious and introspective piece, singing a different song on an even deeper level of tin foil.

The conclusion of the tour is a very brief but intense piece, where Turner is accompanied by two percussionists – a thin and powerful, but fierce, Arnaud Corredor and Celine Rocha. These pieces are slow in tempo, with a thick pulse that works perfectly against the sound of the open and deep arco bass. The end of the piece is a very brief and contemplative piece, which is a perfect finale for a concert.