It is entirely possible to lose yourself, along with your stress and your awareness of time and place, as you sink into the depths of this Entanglement. The second solo album by Montreal-based violinist Jessica Moss, best known for her long association with Thee Silver Mt. Zion Memorial Orchestra, Entanglement was reportedly inspired by particle physics and quantum theory, which may partly explain the sense of space and time shrinking and stretching as you listen. Particles, the first track (and first side of the vinyl version), is a magnificent twenty-two-minute opus that begins with staccato bleeps and blips that circle and spin and slowly lengthen until they form a stately melody, before funnelling into a single note that becomes ever more fragile as it lingers. That note is then joined by another to build a beautiful droning chord that almost sounds like it’s coming from a church organ, though Moss employs just her violin and electronics. The chord descends almost into silence before a voice suddenly arrives and echoes around and around in a liturgical-sounding chant that gets marvellously warped and disrupted before fading away. The other tracks, called Fractals (Truth) numbers 1, 2, 3 and 4, use violin melodies to create beautifully melancholic tunes that evoke music from Eastern Europe, Ireland, and the Middle East. “Truth 3” has some devastatingly lovely vocal harmonies, while “Truth 4” sounds more ominous; but they are all gorgeous and mesmerizing. Moss has built a towering soundscape that instills in the listener a sense of peaceful melancholy, and it endures long after the last note has ended.