i’m delighted to present the latest installment in my occasional long-form conversation series The Dialogues. My guest this time is UK-born, Norway-based composer Natasha Barrett, whose music I’ve deeply admired for at least 20 years. Barrett is both a veteran and a pioneer of electronic music, utilising a convoluted mixture of real-world and synthetic sounds to compose highly elaborate, immersive soundworlds. That word “immersive” is no hyperbole: Barrett’s work in ambisonics is at the forefront of creating an all-enclosing listening experience demonstrating intricate control of the 3-dimensional placement of sound. Partly for this reason, Barrett’s work is not often heard in the UK – at least, not often exactly as the composer intends, due to its extensive multi-channel/-speaker demands. The most authentic way to hear her music is therefore to go to Norway and experience it in situ; while the easiest way is via the increasing number of releases devoted to or featuring her work in specially-adapted stereo and binaural versions.