Barwick has long been one of the brightest experimental composers, and Will is a testament to her intensely impressive ability to fuse minimalist composition with a maximalist, cinematic outlook.

Three albums and a host of collaborations, EPs and singles in and it's still impossible to place Julianna Barwick in the modern scene, experimental or otherwise - while minimalism is making a somewhat unexpected rise at the moment, the ethereal vocal loops and new age techniques employed here and on previous work still seem somewhat out of sync with the world at large. Fundamentally, Barwick makes new age meditative music that, while it shares hallmarks with the rosters of Erased Tapes or Constellation, it steadfastly refuses to fall into any of the trappings of genre or modern style.

It should come as no surprise then that the chief reference points for Will are not the Reich or Cage type figures that we're used to hearing in modern composition. Instead she brings to mind the drowned pop songs hidden in Arthur Russell's World Of Echo with the half-remembered melodies floating under washes of synthetic honey or Laraaji's dream-like spacious melodies and rhythms - this is music to think to, music to get lost in and to make you dream.

More modern reference points may be Julia Kent's stunning 'Asperities', which carries the same drone laden wordless storytelling or Wolves In The Throne Room's ominous yet gorgeous 'Celestite', though both are more focused on the darker side of atmospherics, while Barwick, while not exactly optimistic, never weighs herself down with the obtuse negativity often found on atmospheric composition.

Will is a triumph - it takes the kosmische regurgitations of Oneohtrix Point Never, the choral, almost religious feel of early Julia Holter and the relentless thirst for finding the new in the old of The Caretaker to make an entirely new statement.