One might expect the calibre of music on Escapement, the debut album from Poppy Ackroyd, to be of a particularly good standard given the classical training background of the violinist and pianist.

Turning years of theory, practice and performance into successful solo song writing, performing and recording may not be such a surety these days though, given widespread access to music technology and a competitive UK market. For Ackroyd then, as collaborations with eclectic collective Hidden Orchestra and an assortment of soundtracks for animations, contemporary dance productions and documentaries suggest, the journey towards producing successful music has begun already.

Aside from showcasing Ackroyd's talent, this album is extraordinary for another reason: Escapement was created entirely from the sounds produced by violin and piano, recorded via one microphone. By mapping out, twisting, slicing, overlapping, overlaying and manipulating audio in an unobtrusive way, the Edinburgh-based musician has created an atmospheric world which stylistically, sounds something like Steve Reich meeting Yann Tiersen at a Ludovico Einaudi listening party: hypnotic and mesmeric enough to capture attention, short and charming enough to hold focus and flow.

By using delays, echoes and reverb to great effect and building from the gentle glissando of piano strings and plucking of violin strings up to a sweeping crescendo of layers, opening track 'Aliquot' is the perfect introduction to Ackroyd's work.

Her use of motifs and repetitive string or piano melodies throughout the 31 minute album wraps most of the tracks up in a cold mathematical air, warmed from the centre by lush warm arrangements. Brilliant fourth track 'Glass Sea' is one such example, with its hammering of the same one mid-scale piano note matched by a repeated and richer flourish higher up the keyboard, all underscored by sparse percussion and just-audible coastal field recordings.

The mini-soundscapes of 'Rain', 'Grounds' and 'Mechanism' are particularly beautiful songs too, simplistic yet cinematic, structured and somehow unpredictable in parts.

Overall, the seven tracks offer a sublime insight into a musical talent that straddles both old and new, harnessing the power and range of two very versatile instruments along with innovative use of samples and manipulation through technology. A must for fans of Silvain Chauveau, Dustin O'Halloran and Max Richter.