There’s never been a divide between classical music and pop for Scottish composer Anna Meredith. Before becoming an indie fave, she served as composer-in-residence at the BBC Scottish Symphony Orchestra between 2004-07, and later wrote canons for body percussion and a concerto for beatboxing. Attracted by the immediacy of pop in the early 2010s, she folded Steve Reich-style minimalism into the electro-banger “Orlok”, while building “Nautilus” from harrowing Wagnerian brass. Her fusions have become more assured and integrated over time, as with the embroidery of melancholic cello figures with sparkling synthesiser arpeggios on “Moonmoons”.