Matthews is as intent as ever on “converting the violin into something completely different.” Cécile, Matthews’ third alphabetically inclined disc, finds her “on the case” in Chicago, Oslo, and London” laptop and custom realtime-sampling software in tow. In performance, the classically trained Matthews gamely bows and plucks at her violin. But she is far more animated when crunching sampled crowd noise, acoustic atmosphere, and the occasional keening string swath into grime-caked, granular digital noise. The sounds heard subvert all expectations, bearing little suggestion of wire and wood. Instead, Matthews stirs up dense fields of drone and dust in which bits of identifiable sound flutter within irregular textured loops like flies helplessly trapped in hardening pinesap.