Tamsin Wilson shared her skill for deconstructed cover tunes last spring with Grimes’ “Oblivion.” But how might she approach an already-spare cut like Portishead’s “The Rip?” Focusing on the bookends: she left its hushed, poignant center intact, drawing out the intro to a full minute and settling deeper into the coda’s polyrhythmic release. We’ll be hearing more from Wilsen this year, and this is a lovely, promising start.