Martin Arnold Credit: courtesy the artist

One thing’s for sure—you can’t pin Martin Arnold down. On The Split Veleta, his volume in Another Timbre Records’ recent five-album survey of Canadian composers, the pensive violin and piano melodies wind and wander but never quite resolve. Abberare, a collection of his work performed by the Montreal-based Bozzini String Quartet, is split between Renaissance-vintage sonorities, gentle dissonances, and cheerily meandering airs. Arnold, who lives in Toronto, holds down a monthly gig contributing subtly off-kilter guitar accompaniment to the smooth lounge pop of pianist Ryan Driver, with whom he has also recorded entropic treatments of English folk tunes in the alt-folk band Mermaids. Whatever form his music takes, it seems more concerned with lazily lingering than with getting to any particular point. Arnold kicks off the third Frequency Festival, a celebration of new music selected by Reader staff writer Peter Margasak, with a new piece called “Sheath and Knife” that will feature local bassist Joshua Abrams, cornetist Josh Berman, and vibraphonist Jason Adasiewicz. He’ll also play “Fergus” and “Willie O’Winsbury, a pair of solo pieces for voice, melodica, and effects. The Bozzini Quartet’s program on Thursday at the Art Institute will also include some of Arnold’s music.   v