Nico Muhly's day job as assistant to Philip Glass is a particularly pertinent backstory when confronted with the Einstein-ian barrage of rich low-end and flutttering operatic chatter (with mezzo-soprano Abigail Fischer instructed to incorporate as many past street addresses lived at into said overdubs) on Mothertongue's first, eponymous piece. Harpischord, celeste and trombones back Helgi Hrafn Jonsson's recitations riffing on various early-1600s texts for the duration of "Wonders", but nu-folk wunderkind Sam Amidon threatens to steal the show with "The Only Tune"'s cheery telling of a murder ballad involving two sisters, slowly drawn out additively.

An artifact of early digital recording and composition (the year: 1985; the main tool: the Fairlight CMI polyphonic sampling synthesizer), Don Juan transcends both the era of its making and the many styles it encompasses, from speedy-grid minimalism to pensive lyre passages (played on an electro-acoustic model of Lauten's own invention, the Trine) and drawn-out, haunting choral singing (as on the mid-opera "Death Of A Woman", where Don Juan himself is voiced by Arthur Russell--his chief accomplice Peter Zummo also features prominently throughout). This reissue continues Unseen Worlds' mandate, giving deserving cult avant-garde classical works a new audience.

The well-traveled Golijov's latest speaks of his varied heritage (covering Argentina, Isreal and Eastern Europe). The titular song cycle mixes swelling choral refrains, Reichian passages and even a Tropicalia break. Tying it all together is Brazilian vocalist Luciana Souza, whose introspection counters the choir's full-force gales well. After this unpredictable piece, we settle into calmer, yet still deep waters. Both the plantive "Tenebrae" and the sublime "Three Songs" (featuring Kronos Quartet and soprano Dawn Upshaw respectively) convey Golijov's wanderlust with subtle conviction.

Christopher DeLaurenti is a Seattle-based composer who has turned in one of the more unlikely field recordings in recent memory. Using a leather vest embedded with small mics, cables and a Mini-disc, he secretly recorded the intermission practicing and improvising of classical musicians. After seven years and over 50 hours of recording, he has culled the cream of the crop and produced Favorite Intermissions. Raising questions about the history of the avant-garde, this disc is a peculiar and engaging listen, giving us the rare chance to hear these musicians autonomous and relaxed.