Culture Queen

I Like The Me I See!

Culture Kingdom Kids, 2019

10/10

More about I Like The Me I See!

A children’s picture book illustrated richly by Solomia Kovalchuk, Jessica Hebron, aka Culture Queen, pens a quick story about personal empowerment, where body positivity and self-affirmation are expressed in ways that will appeal to the little ones.

Also a musician, Culture Queen takes inspiration from a song of hers also called “I Like The Me I See!”, as this eye catching and really enjoyable read even allows for some creativity as the kids get to draw their own self-portrait at the end of the book.

In a world where far too many are consumed with comparing themselves to others, this is a fantastic read to help instill confidence, pride and even compassion in our children, and the text even flows like a song with a playful memorableness.

Although it’s aimed for ages 3-8, our 5 month old really enjoys the bright, detailed artwork that is filled with symbols from Ghana, West Africa, and hey, they’re never too young to learn about the inherent beauty that each one of us possesses and radiates, right?

The Brilliance

Suite No.2: World Keeps Spinning

Self-Released, 2020

8/10

Listen to World Keeps Spinning

A duo comprised of David Gungor and John Arndt, as The Brilliance the pair have been making well received albums in the area of Christian music, and with this 4th album they bring much in the way of classical sounds to the expansive equation.

“Release Me” starts the album with help from the Biola University Orchestra, as graceful strings meet a dense beat in the classical vs rock formula, and this sophistication continues to the initially reserved then lively dance rock of the glitchy “How Do We Know”.

In the middle, “Facebook” offers a mysterious moment that invokes the creativity of Radiohead with a modern punch that even hints at the blues, while “I Shall Not Fear”, again with the Biola University Orchestra, recruits a vocally strong effort with minimal music as soaring voices guide the harmonies in a choir like delivery.

Near the end, “Just Be” is a light moment of piano beauty alongside emotive, falsetto vocals in a dreamy setting, and the busy title track ends the affair with a gospel influence as it builds into a pop rock explosion of precise melody.

A listen replete with balladry, chamber sounds, plenty of orchestal nods and a whole lot of creativity, The Brilliance delve into deep lyrical matter, and their cohesive and accomplished musicianship follows suit with comparisons to both Bach and The Beatles.

Travels well with: The Liturgists- On Light; Casting Crowns- Thrive

Joseph Summer

The Shakespeare Concerts Series 7: Summer’s Distillation

Navona, 2020

8/10

Listen to Summer’s Distillation

The esteemed composer Joseph Summer pays homage here to William Shakespeare, where settings by Robert Schumann, Johannes Brahms and Benjamin Pesetsky are present with several accomplished vocalists alongside harps and horns.

“Sonnets V and VI” starts the listen with strong vocal harmonizing as harp and horn accent the raw setting, and “Sonnet CIV” follows with mezzo soprano from Sophie Michaux as Franziska Huhn’s elegant harp flows expressively in the art influenced atmosphere.

Near the middle, “If By Your Art” pairs Huhn’s harp well with Jessica Lennick’s powerful soprano on the playful tune, while “Oh God, That I Were A Man” makes great use out of Keith Owen’s horn prowess as Thea Lobo’s vocal acrobatics impress us in the emotive delivery.

Near the end, “Vier Gesange , op. 17” unfolds with 4 movements where operatic vocals are the focus amid twinkling harp, and “Answer and Question” ends with multiple vocals complementing each other well in the sublime exit.

Certainly a must hear record for Shakespeare fans, those with an ear for exceptional vocal work and harp sounds will find much to be enthralled with, too, on Summer’s Distillation.

Travels well with: Mira J. Spektor- Daytime & Night Songs; Katherine Jolly- Preach Sister Preach

Ethan Gruska

En Garde

Warner, 2020

8/10

Listen to En Garde

The Los Angeles songwriter and multi-instrumentalist Ethan Gruska returns with a sophomore album, where his colorful storytelling is met with sounds that traverse pop, folk, soul and many others on the adventures En Garde.

“Maybe I’ll Go Nowhere” starts the listen with careful acoustic guitar alongside Gruska’s distinct vocals in a rhythmic folk tune that recruits synth and strings, too, and “Event Horizon” follows with a very cautious delivery of light vocals across music that builds into a chamber setting.

Near the middle, “Dialing Drunk” is especially bare with a mature display of vocal acrobatics in a stylish soft-rock meets jazz fashion, while “Crash Cart” flows with a glorious and orchestral tinted display of indie-folk sensibilities. Gruska collaborates a few times on the record, most notably with Lianne La Havas on “Haiku4U”, where fluent keys and a dense beat soundtrack the very forthright wordplay that’s not far from R&B.

Towards the end, “Blood In Rain”, featuring Moses Sumney, matches warm piano with pretty vocal work in the dreamy atmosphere, and “Teenage Drug” ends the listen with one of the fuller tunes, where upbeat melodies and firm grooves find their way into one of the album’s best selections.

Formerly of the sibling duo The Belle Brigade, these days Gruska is busy producing artists like Bad Books, among others. Let’s hope he continues to find time for his solo work, as his intimate, playful and genre skipping song craft will certainly be embraced by many.

Travels well with: Darren Jessee- The Jane Room 217; Penny & Sparrow- Finch

John McGuire

Lines At Dusk

Navona, 2020

8/10

Listen to Lines At Dusk

A professor and horn enthusiast, John McGuire brings us 7 pieces here by different composers, where a small handful of players help flesh out the profound and exciting performances.

“Landscapes, Series II” starts the listen with 3 movements, where McGuire’s delicate horn is complemented by Kevin Chance’s sublime piano work which bridges the gap between the serenity of the country and fast paced, urban sensibilities, and this graceful delivery continues to “Batuque”, where Wesley Ferreira’s clarinet prowess joins the setting on the call and response tactics.

The back half of the listen brings us “Laudatio”, as McGuire handles the entire affair with a marveling, cinematic appeal, and “Brass Quintet No. 1” ends the listen busier, where a tuba, trombone and trumpets from The Fortress Brass Quintet all support the exit with plenty of energy and precision.

An artist who has studied the horn about as much as anyone, McGuire offers both bare and expansive landscapes, where a poetic approach to his craft unfolds with plenty of timelessness.

Travels well with: Anna Neikirk- Spring Shadows; Moto Celeste- Trio Casals

Massimo Biolcati

Incontre

Sounderscore, 2020

8/10

Listen to Incontre

Perhaps better known as a founding member of the trio Gilfema, the bassist and composer Massimo Biolcati has been quite busy producing music for other bands, but here he takes time to perform as leader on his sophomore solo album, Incontre.

“Hello, I Lied” starts the listen with low strings before smooth and elegant brass enters the equation as the tune finds a graceful place to reside, and “Boo Boo’s Birthday” follows with playful percussion in the bright atmosphere and unpredictable jazz rhythm.

Further along, “Duke Ellington’s Sound Of Love” recruits organs in the soulful setting and complements it with baritone saxophone, while the title track displays the saxophone prowess of Dayna Stephens well, while also focusing on the fluid keys from Sam Yahel. Although this tune was penned two decades, it sounds quite modern in its delivery.

Closer to the end, “How’s Never” bounces with plenty of rhythm that tips it hat to funk inspiration, and “Birthday Song, Almost” ends the listen with much sophistication, as the exit unfolds with both frisky and mature dynamics, especially from Jongkuk Kim behind the drum kit.

Biolcati brings a wealth of experience and talent to the table, and that’s not just with his own accolades, and together with the esteemed players he offers several well thought out originals and some inventive covers. Their version of “Everybody Wants To Rule The World” (Tears For Fears) is alone worth the price of admission.

Travels well with: Sam Fazio- Let’s Go; Michael Waldrop- Triangularity

Mrs. Henry

Live At The Casbah

Blind Owl, 2020

8/10

Listen to Live At The Casbah

It wasn’t too long ago that Mrs. Henry released their exceptional album Mrs. Henry Presents The Last Waltz, and here they offer us 5 live tunes from the legendary venue The Casbah, which was recorded on the club’s 30th anniversary.

“All I Can Do” starts the listen loud and raw with a thick rock presence of organs, lively guitars and melodic singing, and this intensity continues to the spirited rock’n’roll flavored “Peace”, where an always relevant message comes in a sing-along package.

Deeper into the set, “Where Are We Going” presents a fiery version of their cosmic rock formula that moves at a brisk pace and nearly finds its way into jam band territory with its rollicking delivery that takes nods to Deep Purple, while “The River” ends the listen on an Americana on steroids sort of exit of where all members take turns on vocals.

A band that are known for their incendiary live shows, the undeniable energy is captured well here, and though they’re heavily indebted to ‘70s classic rock sounds, we get blues, funk and plenty of soul, too, in this timeless execution that we’ll never tire of.

Travels well with: The Kinks- Arthur Or The Decline And Fall Of The British Empire 50th Anniversary; Daystar- The Complete Recordings

Taktus

Mirrored Glass

Ravello, 2020

8/10

Listen to Mirrored Glass

A duo comprised of Jonny Smith and Greg Harrison, as Taktus the marimba enthusiasts take inspiration from Ann Southam and Philip Glass on this very unique offering where their percussive technique seemingly knows no creative boundaries.

Side A reinterprets Southam’s “Glass Houses” with lively and careful marimba versions of No. 11, 15, 2, and 4, as well as “Rivers 1 (1st Set)”. Originally done on a piano, the duo uses electronic processing on their instruments to yield a similar tone that’s never short on grooves.

Side B offers the Taktus version of Glass’s “Etudes” and “Music In Contrary Motion”, where the setting gets a bit more ominous, as Harrison and Smith feed off each other’s performances with dynamic precision, effectively turning minimalism into a refined art form.

Though both sides were recorded at different times and in different studios with different engineers, they complement each other well, providing a sonically engaging experience that’s hypnotic while possessing much beauty.

Travels well with: Lachlan Skipworth- Lachlan Skipworth; Patterns- Chamberworks

Anne Neikirk

Spring Shadows

Ravello, 2020

8/10

Listen to Spring Shadows

A composer and educator, Anne Neikirk is fluid in both acoustic and electroacoustic ideas, and with Spring Shadows she relies on saxophone, flute, harp and percussion to illuminate her creative vision.

“Balloon Man” starts the listen with cautious tenor saxophone from Andrew Allen in the contemplative delivery where the underlying melody is infectious, and “Flicker” follows with flute acrobatics from Wayla Chambo, as the tune quivers with background electronics as well as popping and crackling.

The back half of the listen offers the dreamy harp prowess of Elizabeth Huston on “locoMotives”, where ambience is key as inspiration from the Philadelphia Regional Rail Train unfolds, and “Lung Ta” ends the listen with 5 movements as Adam Vidiksis displays his percussion chops across sparse moments of bells to swells of almost spacey ideas and plenty of exploratory manipulation that gets booth soothing and turbulent.

With spring right around the corner, Spring Shadows invokes all the feelings of the coming season with its sense of rebirth and rejuvenating, as the core elements of earth, wind and water are all very rooted in this nature focused experience.

Travels well with: Etereo- New Music For Flute; Peter Greve- The Palace Of The Dreamking And Other Works

Moto Celeste

Trio Casals

Navona, 2020

8/10

Listen to Trio Casals

This 5th installment of Navona Record’s MOTO series brings us 8 new works from 8 exciting composers, as Trio Casals, i.e. Sylvia Ahramjian, Ovidiu Marinescu and Anna Kislitsyna flesh out the varied effort.

“Earth Rise” starts the listen with quiet keys from Kislitsyna and emotive violin from Ahramjian interacting together in an ethereal setting, and “Los Ritmos Para Tres (Rhythms For Three)” follows with a more forceful display of rollicking rhythm and exploratory instrumentation.

Elsewhere, “Sunt Numai Urechi (I’m All Ears)” is inspired by flamenco guitar and comes with a sturdy execution of cello by Marinescu, while “Glacier Blue” is divided into 3 parts where the cello is highlighted with its sublime and expressive delivery. “Palette No. 2”, one of the best of the best, finds a busy place to reside with tumbling keys, aching strings and rhumba nods in the lush atmosphere.

At the end, “Grisailles Vaporeuses”, also in 3 parts, recruits a nature influenced theme where dramatic and glorious landscapes are traversed with incredible interaction between the trio.

Those who embrace classical sounds will find much to adore here, as the 8 composers offer us accomplished song craft that’s handled exquisitely with Trio Casals on another must hear chapter of the MOTO series

Travels well with: Patrick Yim- Memory; Elliott Miles McKinley- Shadow Dancer

Lizzie Thomas

New Sounds From the Jazz Age

Self-Released, 2020

8/10

Listen to New Sounds From the Jazz Age

Though her formative years were spent with classical music and she would eventually earn degrees in vocal performance, Lizzie Thomas very quickly fell in love with jazz, and here she returns with a 4th album of new adventures in the area of her favorite genre.

“Fascinating Rhythm” starts the listen and lives up to its title with playful clarinet alongside expressive vocals from Thomas, and “Our Love Is Here To Stay” follows with an elegant and lively display of jazz prowess that’s both pretty and intimate.

In the middle, “You’d Be So Nice To Come Home To” recruits energetic percussion, bright horns and dancing keys with some rock’n’roll spirit, while “In The Still Of The Night” brings a romantic setting with sublime piano acrobatics amid a firm Latin groove.

Deeper tracks bring us the ballad turned glorious shuffling of the poetic “Cheek To Cheek”, and “The Very Thought Of You” radiates emotion in the soaring exit of an Afro-Caribbean nature.

Primarily surrounding tunes by Porter, Gershwin, and Ellington, Thomas and company keep the listener guessing with constant changes in tempo, tone and mood, as they reinvent already fantastic tunes in their intricate, frisky and compelling fashion.

Travels well with: Tamuz Nissim- Capturing Clouds; Lois Bruno- And So It Begins

Kailey Nicole

Kailey Nicole

Self-Released, 2020

8/10

Listen to Kailey Nicole

With the resurgence of country music in recent years, you’ve really got to be something unique to stand out. Though she’s just barely out of her teens, new Nashville resident Kailey Nicole is throwing her hat in the ring as one of the brightest young stars in Music City with this expertly crafted sophomore EP.

“Brand New Day” starts the listen with plenty of twang in the guitars as Nicole’s voice guides the upbeat and warm setting that recruits pop elements to the party, and “Diamonds & Coal”, a break up song, follows with a swift pace of soaring melodies and dynamic musicianship in the more traditional country atmosphere.

The back half of the listen is equally strong, and includes the emotive and cautious “Change My Ways”, where Nicole’s vocal prowess is illuminated, while “Tennessee”, the EP highlight, brings a slightly darker quality to her timeless delivery of tuneful, rustic sounds. “Country Love Song” ends the listen more calm, with an intimate display of heartfelt songwriting that was actually penned when Nicole was just 15 years old.

Although she might be a new name in the country scene, she actually got her start at the age of 9, and released her first EP at just 16. After taking some time off to formally study music, this comeback record has the songstress proving she has the chops to make waves in both the old and new sounds of country music as she takes on the spirit of an old soul manuevering a young person’s vision.

If Kailey Nicole is a household name by this time next year, it wouldn’t surprise me one bit.

Travels well with: Jordan Whitmore- Good Things; Lisa Bell- Back Seat

Jeff Rupert with George Garzone

The Ripple

Rupe, 2020

9/10

Listen to The Ripple

Jeff Rupert and George Garzone, both legends in the are of saxophone sounds and Grammy winners, come together with Richard Drexler on keys, Marty Morell behind the drum kit and Jeremy Allen on bass. Together, the ensemble reinvent several classic tunes as well as offering 3 originals on the thrillin The Ripple.

“Bahia (aka Baia)” starts the listen with soulful tenor sax as swift keys and light percussion highlight the affair, and this elegance continues to the upbeat and playful keys of the original, “GO-GO”, as well as the initially cautious and graceful “Stardust”, that bursts into a busy display of classic jazz.

Further along, “Detour Ahead” finds a spirited place to reside with gorgeous interplay between the sax and drums, while “The Red Door” shuffles quickly with swift melodies. “Hoboken”, a late album highlight, then offers sublime post-bop fun in a Rupert penned track.

At the end, Wayne Shorter’s “Lester Left Town” pairs piano and brass together with fluid results, and “Alone Together” ends the affair with dual saxophones in the creative and rhythmic exit.

A tribute album to Lester Young, though there’s no actual Young tunes present, artists that inspired him are included, as the tenor sax focused compositions bop fluently and also find creative ways to get soulful in this profoundly exciting listen.

Travels well with: Sam Fazio- Let’s Go; Michael Waldrop- Triangularity

Siobhán O'Brien

You Can’t Run Out Of Love

Self-Released, 2020

8/10

Listen to You Can’t Run Out Of Love

An Ireland native who now resides in the US, Siobhán O’Brien is in great company here as John Bush and Matt Hubbard, both players in Edie Brickell & New Bohemians, handle percussion and keyboards respectively.

The title track starts the listen with an acoustic guitar, and a rootsy delivery as O’Brien’s pretty vocals suite the elegance perfectly, and “The King’s Fool” follows with a soulful quality amid the breezy melodies.

Elsewhere, “The Burger Song” gets rhythmic and playful in its more forceful display, while “Hold Me In Your Arms” gets romantic with a ballad atmosphere and strong vocal acrobatics. “I Stayed Too Long”, one of the album’s best, then finds more rugged yet tuneful territory with a firm rock influence.

Near the end, “Sanctuary” recruits modern pop ideas into the gorgeous landscape, and “Mother” ends the listen with some spacey sounds that turn into acoustic strumming in the emotive and intimate exit.

An artist born into a musical family, O’Brien carries influences like Joni Mitchell, Bob Dylan and Neil Young with her, and this 3rd album documents the highs and lows of recent years of her life with absoring, raw beauty.

Travels well with: Cara Louise- Fragile Heart; Fran- A Private Picture

Steve Scott

No Love For The Common Man

Self-Released, 2020

9/10

Listen to No Love For The Common Man

Steve Scott is a man who wears many hats, and here he takes a break from activism, acting, writing and producing to flesh out a quick listen of roots sounds where country, folk, soul and blues are all part of the warm, flowing equation.

“Rise” starts the EP strong with Scott’s fluid and wise vocals alongside country and soul sounds in the anthemic tune about Detroit, and “Wish You Well” follows with a more firm country spirit as rootsy melodies are worked into the timeless setting.

The back half of the listen includes the backing vocals and fiddle work of “Time Waits For No One”, while “Livin’ On Love” finds a more cautious place to reside with a lush, rural approach. “I Think About You” ends the listen on a high note, as folk qualities enter the formula with immediately memorable results.

Scott’s lyrical prowess is just as well executed as his music, as he addresses political and social issues with insightful commentary, and his smooth, expressive pipes really help illuminate his unique and absorbing brand of Americana.

Travels well with: The John Byrne Band- A Shiver In The Sky; Nick Nace- Wrestling With The Mystery

Sirr

Space

Self-Released, 2020

8/10

Listen to Space

Canada sure doesn’t seem short on must hear indie-rock artists these days, but few are as unique as New Brunswick’s Sirr, who have dedicated this entire record to the idea of space, where subject matter includes telescopes, aliens, velocity and many other related, distant ideas.

“1000 Light Years From Home” starts the listen soft and atmospheric, as the mood is set with wordplay about space travel, and this theme follows to the gentle guitars and restrained percussion of “Life’s Hard Here” as well as the hand clapping quirkiness of “Escape Velocity”.

Elsewhere, “Robot Blues” is an electronica fueled affair that sounds like a robot singing, while “Space Madness” offers a raw glimpse of garage rock sensibilities. “Two Strangers And A Gun” brings another surprise as the listen enters lo-fi territory with bits of alt-rock present.

Back half highlight include the hazy, surreal and rapping of “Explore It All”, and “Gannymeade” actually flirts with New Age ideas in its soothing execution. At the end, “Mission Critical” gets playful in an ‘80s sort of way, and “The Martian” exits the listen with talking about space exploration over a quiet beat, putting a very creative exclamation point on this atypical effort.

The brainchild of Mark O’Connor, the artist takes help from musicians around the world via Wikiloops, and together it flows with an unpredictable, eclectic approach that’s full of intrigue and anticipation of what ‘s coming next.

Travels well with: Heron- Sun Release; Bonsai Universe- Too Many Ghosts

Seamus Egan

Early Bright

THL, 2020

8/10

Listen to Early Bright

Even if you don’t recognize the name Seamus Egan, most of us have heard his work already as he soundtracked The Brothers McMullen and also co-wrote Sarah MacLachlan’s hit “I Will Remember You”.

With this new album, the multi-instrumentalist- now dealing with his band Solas on hiatus and a move rural Vermont- delivers an entirely instrumental record where his Irish roots are very much intact as classical influences are also in attendance.

The title track starts the listen key focused and atmospheric while setting the mood for the listen, and “6 Then 5” follows with sublime banjo plucking from Egan in the highly rhythmic affair that comes with Americana sensibilities.

Elsewhere, “B Bump Bounce” moves swiftly and playfully with dynamic interaction between the guitar and banjo, while “Everything Always Was” finds the listen settling into calmer waters of reflective beauty where an organ adds much to the landscape. “Tournesol”, one of the most interesting pieces present, then leads with a whistle/woodwind, in the nature-esque landscape that really draws from Egan’s Irish upbringing.

Closer to the end, “52 Hertz” flows with a meditative quality and dreaminess that’s tinged with introspection, and “Under The Chestnut Tree” ends the listen with orchestral strings from The Fretless String Quartet supporting the sublime guitar melody, ultimately complementing the sophisticated and emotive exit

It’s Egan’s first solo album in 23 years, and he leaves an indelible mark with his pensive melodies and bluegrass nods, where names like Bach as well as modern artists like Philip Glass come to mind in his unique vision of intimacy and elegance.

Travels well with: Moira Smiley- Unzip The Horizon; The Fretless- Bird’s Nest

Kaylé Brecher

Kayleidoscope

Penchant Four, 2020

8/10

Listen to Kayleidoscope

The jazz vocalist, composer, lyricist and arranger Kaylé Brecher (pronounced KaylA BrecKer) is well versed in many variations of jazz sounds, and here on this 8th recording the songstress offers us a fine mix of originals and covers with a handful of players to help flesh out the affair.

“My Favorite Things” starts the listen with soft keys and calm percussion as Brecher’s pretty vocals guide the gentle jazz setting, and “Glad Bag” follows with a playful display of spirited guitar work as Brecher shows us her impressive and versatile singing prowess.

Near the middle, “Something About You” initially finds a more sparse place to reside as primarily piano accompanies her adaptive pipes that eventually hint at rapping as the setting becomes abruptly quirky, while “Shattered” is nearly a capella, as a plucked acoustic bass pairs with Bobby McFerrin like vocal scatting. “An Elegant Tale”, the album highlight, then brings a busier display of breezy grooves and Afro-Cuban influences that add much to the engaging atmosphere.

Deeper into the listen, “Sea Of Dolphins” puts keys into focus to help birth glorious melodies that tips its hat to Herbie Hancock, and “Remember It Well” exits the listen with just Brecher’s vocals in the brief and emotive finish to a vary accomplished effort.

An artist who began her career in her teens singing the blues in New York City clubs, Brecher brings a wealth of talent and experience here, where minimal songs resonate just as well as fuller ones in her rhythmic and harmonic execution that we could never tire of.

Travels well with: Lois Bruno- And So It Begins; Raquel Cepeda- Passion

Sam Fazio

Let’s Go

Self-Released, 2020

8/10

Listen to Let’s Go

Though he might be a relatively new name in the area of vocal jazz sounds, Chicago’s Sam Fazio is making new fans quickly with his healthy pipes that bring new life to several jazz and pop standards, as well as a pair of originals, on this strong effort where the legends Tuck & Patti produced and mixed Let’s Go.

The aptly titled “Pure Imagination” starts the listen with just harmonica and keys as they interact playfully with Fazio’s smooth and elegant vocals, and this gracefulness continues to the swift and frisky jazz of the original “Let’s Go”, as crisp percussion and animated guitar licks enter the equation.

Across the 10 tracks, each one shines in its own light, including the Gershwin and Gershwin interpretation of “S’Wonderful”, where just piano accompanies Fazio, while “My Baby Just Cares For Me” brings in backing vocals in the soulful and melodic swing sensibilities.

Deeper cuts offer us the bare and cautious “Eleanor Rigby”, where only a bass is in attendance with Fazio’s strong singing, and “Share My Life” ends the listen with merely a guitar in a sparse display of timeless, albeit haunting, qualities.

A very mature listen that sometimes gets dreamy, is highly rhythmic and alway emotive, Fazio sings from the heart here, and delivers a flawless performance with an incredible band to help solidify Let’s Go as the first must hear traditional vocal jazz release of 2020.

Travels well with: Ronny Whyte- Whyte Witchcraft; Larry Corban- Emergence

Yann Tiersen

Portrait

Mute, 2019

8/10

Listen to Portrait

A double disc, cassette or triple LP of 25 songs recorded throughout Yann Tiersen’s esteemed career, including 3 new ones, this analog effort brings in several guests for a very live sounding experience.

“Introductory Movement”, with Stephen "O’Malley, starts the listen with 7 minutes of ambience in the intimate setting, and “The Long Road” follows with a key heavy presence of elegance amid Tiersen’s inimitable delivery.

Other disc 1 highlights include the piano acrobatics of “The Old Man Still Wants It”, and the restrained, cautious “Chapter 19”, where deep vocals add much to the moody setting. “La Dispute”, the highlight from this portion, delivers a minimal approach with much beauty as the accordion and piano work off each other.

Disc 2 notables include “The Waltz Of the Monsters”, which flows with a classical quality armed with a toy piano, while “Naval” adds a cinematic approach to the highly sophisticated listen. “Kala”, featuring Olavur Jakupsson, stands out among the pack here, with expressive singing alongside timeless keys from Tiersen.

Though Tiersen’s name might not be a household one, if you’ve seen Amelie you’ve heard his work as he soundtracked the film.

An artist who has had a lengthy, prolific career, you might think of this collection as a ‘Best Of’ record, and by choosing to reinvent songs as far back as 1995 and as recent as 2019, Portrait gives us an in depth look into the vast catalog of one of the most talented musicians/composers of this generation.

Travels well with: Clint Mansell- Stoker; Nils Frahm- Spaces