Toronto composer Robin Hatch leads a double musical life. Under her own name, she’s self-released albums of classical piano works and abstract electronic instrumentals; on the other hand, she’s also served as a touring keyboardist for Canadian rock warhorses Our Lady Peace and played with Toronto’s pre-eminent all-female Weezer cover band (named Sheezer, natch). Noise, however, represents a meeting point for her divergent avant/pop impulses, through eight synthesiser-based tracks that alternate between introspection and experimentation. Like fellow Toronto mystic Austra, Hatch can weave operatic Kate Bush-style melodies into dramatic, strobe-lit electro jams (“Heatstroke”, “Planetarium”). But that gothic grandeur is often undercut with a disarming sense of irreverence, whether she’s threading Blood Ceremony flautist Alia O’Brien’s woodwinds through the kosmische machine music of “Hivemind” or deviously luring you into the nightmarish eight-minute synth-scape “The Mirror” as if it were her own digital funhouse.