A founder member of Liverpool's collaborative group Immix Ensemble, Daniel Thorne's importation from Australia to the North West of England has led to work with local leading lights including Bill Ryder-Jones, Forest Swords and Jane Weaver. Add to that collaborations with Luke Abbott and Vessel and he is jointly responsible for an already significant body of work that explores landscapes, textures and experimental arrangement with some of the UK’s foremost musical minds.

Those partnerships lead us inexorably towards Lines of Sight, Thorne’s debut solo release for Erased Tapes. The result is dense, hard to categorise, and an exhilaratingly beautiful work full of blinding light and doomy shade.

The listener is tossed straight into Thorne’s cyclonic narrative on 'From Inside, Looking Out'. The opening bass drop recalls Lorn, while the work Thorne has completed with Vessel is never far from mind as his saxophones wind upwards like currents from an erupting volcano. The PR’s liner notes explain that Daniel is undecided if his conceptual planet is going through a painful birth or being ripped apart, and takes the greatest interest in painting the rippling explosions and eruptions that might accompany either stage.

The result is a wordless post-human drama. The melodic shifts of 'From the Other Side of the World' are full of poignancy, but without the necessary catharsis that narrative requires to complete an emotional journey, and the occasionally jarring major note against a minor chord stresses the otherworldliness of it all. The blasted planet isn't cold, but it is very definitely alien. Some moments recall Stravinsky’s anguished rituals.

Currents are a repeating theme, as in the droning backdrop to 'Pyriscence' (the phenomenon of plants that have evolved to release their seeds in response to fires). There is an incredibly apt piece of composition two thirds of the way through this track when Thorne pulls his layered commotion down to near silence, only to release flowering tendrils of saxophone; a perfect audio-visualisation of the title. The composer is very capable of these moments of transfiguration, and Lines of Sight is full of them.

Percussion is provided by arpeggios dotted with passing tones, rather than traditionally percussive instruments, which may have the unfortunate effect of restricting the audience for this work. Thorne cites Ben Vince and Colin Stetson among his influences - both artists that tend to deliver beats alongside their melodies. It's peculiar that an album about life and death doesn't contain a single traditional cymbal explosion or skeletal drum track. That isn't a criticism.

Daniel Thorne, because of his life of experiences as a collaborating artist with other extraordinary performers, could have become something of a footnote to their careers. On Lines of Sight he enters the solo arena as a composer of rare skill and poise. It will be fascinating to see where his inventions take him to next.