Rupert Christiansen ventures to a London club to sample the new phenomenon of “chill” music. “It sounded vile. I hasten to add that I write this without prejudice. I may be the paper’s opera critic, but I am not a musical purist. Some opera bores me rigid, and there’s plenty of rock and pop, from the Beach Boys to Coldplay, that I adore. But, as demonstrated by Anne Dudley and the BBC Concert Orchestra, classical chillout struck me as execrable. The Trades Description Act should be invoked: classical fallout would be a more appropriate and accurate title. Essentially, the two-hour performance consisted of nothing more than a medley of tunes mangled through samplers and synthesisers and then spewed out at a pitch of amplified volume associated with nuclear explosions.”