Piano Textures 4

Recorded and mixed by Bruno at Onix II Studio · Barcelona · spring 2016
One Lexicon unit has contributed to the texture of the piano sound, field recordings and electronic atmospheres.
Analog Mastered by Ian Hawood
Cover Photo by Anja Matko
Layout by Ximena Contreras

Release date: 2nd December 2016 by ad21
CD limited to 500
LP limited to 300

CD ~ LP available:
Denovali | Norman Records | P*dis | Amazon | Stashed Goods | bandcamp | Xavier Records JP

Also available digitally from:
iTunes | Amazon.com |co.uk|co.jp|.de|.fr
bandcamp | Spotify


1- Piano Textures 4 I
2- Piano Textures 4 II
3- Piano Textures 4 III
4- Piano Textures 4 IV
5- Piano Textures 4 V
6- Piano Textures 4 VI
7- Piano Textures 4 VII
8- Piano Textures 4 VIII
9- Piano Textures 4 IX

It is the 4th volume of the Piano Textures Series started in 2007. The newest installment of timelessly acclaimed picturesque storytelling, Piano Textures 4, invites the listener into magnificently intense piano minimalism. These nine compositions are evocative sonic sculptures, meticulously carved, yet they indeed present different ‘textures’.


Reviews

  • Uscirà il 2 dicembre 2016 per la ad21 il nuovo atteso lavoro di Bruno Sanfilippo, Piano Textures 4, questo il titolo scelto dall’autore. Contestualmente, nel mese di dicembre l’autore sarà in Italia per alcuni concerti. L’opera è composta da nove tracce, sarà disponibile sia in formato digitale presso i vari stores, che in cd e in vinile (180gr). Abbiamo avuto il piacere di ascoltarlo in anteprima, e potremmo dire che l’autore ha fatto centro un’altra volta. Le singole tracce non riportano nomi forvianti o stucchevoli ma semplicemente una progressione numerica, quasi ad indicare lo stile concept dell’album. Il linguaggio sognante utilizzato da Bruno Sanfilippo è semplice ma raffinato per ricercatezza degli equilibri sonori fra elementi acustici ed elettronici. Il fraseggio musicale è immediato a tratti ripetitivo, quasi ipnotico, caratteristiche proprie dello stile ambient e minimalista capace di condurci attraverso emozioni soffuse all’interno del percorso che assurge al senso della vita. C’è da dire che Bruno Sanfilippo si scosta dall’idea in senso stretto del modern classical, preferendo una ricerca formale in funzione delle atmosfere che intende creare piuttosto che la sostanza dettata da una ricerca melodica ed armonica. L’intero album dell’autore argentino scorre piacevolmente all’ascolto, la seconda parte del LP è leggermente più mossa ed interessante per spunti melodici ed idee in generale. Chi ama questo genere di musica non rimarrà assolutamente deluso, mentre per i fans di Bruno Sanfilippo il constatare la continuità del suo cammino musicale seppur con una certa evoluzione.
    jalo
  • Texturierte Klangfarben der Klassik Der in Barcelona beheimatete Künstler Bruno Sanfilippo ist keine unbekannte Größe, bereits im Mai haben wir den Komponisten mit seinem Vorzeigealbum „The Poet“ auf den Seiten von Gezeitenstrom-Musik vorgestellt. Tatsächlich besticht das Album mit poetischen und charmanten Klanglandschaften der modernen Klassik auf allerhöchste Ebene. Mit seinen periodischen Werken, beginnend ab 2007 der „Piano Textures“, bringt Bruno Sanfilippo regelmäßig wahre Perlen der modernen Klassik heraus. Anfang Dezember steht nun der vierte Teil in den Startlöchern. Ein würdiger Ausklang für ein erfolgreiches Jahr vom Pianisten. Die neueste Ausgabe von zeitlos gefeierten malerischen Erzählungen, "Piano Textures 4", lädt den Zuhörer in einem prächtigen, intensiven Klavierminimalismus ein. Der Name ist kein Zufall – die Klavierarrangements bestechen durch ihre breite Dynamik und Texturen. Tatsächlich ist der vierte Teil mit einer der kreativsten in der Reihe. Auch wenn der Komponist weit über 20 Jahre im Musikgeschäft tätig ist, die kontinuierliche Weiterentwicklung ist von jedem Musiker ein angestrebtes Ziel. Viele beginnen mit der Musik zu experimentieren, neue Wege zu ergründen oder wagen Ausflüge in ein benachbartes Musikgenre. Treu geblieben ist Bruno seiner Liebe zur modernen Klassik, die Faszination bleibt ungebrochen an diesem Genre. Aber nun zum neuen Album. Die Texture-Serie hebt sich von den allgemeinen Werken des Künstlers ein wenig ab. Minimal verstärkt kommen elektronische Nuancen und andere klassische Instrumente zum Tragen, die nahtlos in die gefühlsbetonten Klaviersonaten integriert werden. Das Bruno an seinem Hauptinstrument ein wahrer Virtuose ist, beweist er auch auf seinem neuen Album. Fragil, zart und expressionistisch erklingen die Kompositionen voller Klangfarben, stetig schwingt ein Hauch von süßer Romantik und Melancholie mit. Zeitlose Klassik der modernen Art verschmelzen mit einem filmreifen Klangerlebnis. Mit seiner langjährigen Erfahrung verzaubert Bruno Sanfilippo immer wieder den Hörer, ohne eintönig oder gleichförmig zu klingen. Versunkene und nachdenkliche Klangtexturen Insgesamt 9 Lieder finden ihren Platz auf dem neuen Werk, jeder Einzelne erzählt seine ganz persönliche und charmante Geschichte. Nachdenklich und versunken sind auch gute Stichworte, Bruno Sanfilippo versteht es nahezu auch perfekt, diese auf seinem Klavier einzufangen und zu überbringen. Romantische Augenblicke, gepaart mit Sehnsucht und Liebe sind die Hauptkernpunkte auf diesem Werk, Neoklassik der alten Schule, perfekt umgesetzt und eingefangen. Songs, die einem einladen, die Augen zu schließen und sich tragen zu lassen von dieser wundervollen Stimmung. Da fällt es wahrlich schwer, spezielle Kompositionen besonders hervorzuheben. Im Vordergrund immer ein Klavierspiel, was tiefe Sehnsucht und Gefühle dem Hörer offenbart. Was zurückbleibt, sind Augenblicke voller Gefühl und Erinnerung. Hervorgerufen von diesem meisterlich arrangierten Klangwerk. Bruno Sanfilippo schafft es mit minimalen Mitteln viel zu erreichen und dafür gebührt ihm großen Respekt. Tatsächlich weiß "Piano Textures IV" zu überzeugen und zu bezaubern. Und zwar auf eine Art, welche wirklich recht selten geworden ist. Für Freunde für ruhige und verträumte Klänge von klassischen Instrumenten kommen an diesem künstlerischen Werk nicht vorbei. Veröffentlicht wird das Album am 02.12.2016 über das hauseigene Label Ad21 Music und wäre ein ideales Weihnachtsgeschenk für alle Liebhaber der modernen Klassik.
    Gezeitenstrom - Musikmagazin
  • Long term readers will know of my love for most things piano and so when composers like Bruno Sanfilippo create music around some of the more abstract ways you man manipulate and play a piano I am all ears. “Piano Textures 4” is a nine track mood piece that is a continuation of a project where Bruno explores  the many sounds a piano can make that aren’t just tinkling the ivories. From the more laid back singular notes of “PT1”, we are introduced to the more percussive insides of the instrument with “PT2” as the hammers are used like brushing guitar strings. It’s still quite minimalist but it creates a tense and intimate atmosphere at the same time and feels quite off kilter. “PT3” is more melodic but plays with muted notes being reversed behind the main pitter patter of the keys. The result sounds like a mysterious mix of piano and ringing bells in a metallic room, whereas “PT4” is more atmospheric like a blues track slowed down to a crawl with synth effects filling the void between keys. Other tracks are more about piping the piano through effects. “PT5” uses an old watery gramophone speaker effect to create something that wouldn’t be out-of-place from a Silent Hill game, whilst “Pt6” plays with some bass notes to give us something more Sci Fi. The final three tracks to me feel like their own mini suite. They are darker and more broody than the rest, with the first relying on a tension of the low notes and a heavy echo on each time a low note is played. It’s a clever nuance because its subtle but adds so much. When the warped synth effects bleed in for “PT8” everything reaches its culmination and shows off Bruno at his melodic and abstract best before the echoed “PT9” leaves us empty with white noise and tube effects creating a hollow and unclear ending to an intriguing collection. Part of the charm of “Piano Textures 4” is its intimacy and I feel like I am inside the piano at times. It feels like the whole album purposely holds back from going for a full melodic approach though and so some people who are less likely to get lost in mood pieces, may not find what they’re looking for here. Sanfilippo though has created an excellent mood piece for those who do want to get lost in an audio mystery as new layers of piano are unveiled – and if you have your imagination with you – you can wander off anywhere.
    Higher Plain Music
  • L’anno che per Bruno Sanfilippo si era aperto all’insegna del romanticismo cameristico di “The Poet“, si conclude con il quarto capitolo delle sue “Piano Textures Series”. Come ormai consuetudine fin dalla prima edizione risalente al 2007, è questo il luogo nel quale il compositore di origine argentina sviluppa la propria ricerca su toni e timbri pianistici minimali. Nell’occasione, Sanfilippo non si limita a stillare note lentamente risuonanti in uno spazio sonoro in sordina, bensì utilizza quello spazio quale ulteriore elemento armonico, quasi un raccordo tra note ora sospese e solenni, ora articolate in profili melodici dalle dinamiche minute eppure dotate di tutta la ricchezza timbrica del pianoforte.
    music won't save you
  • Contemporary post-classical. STYLE: Bruno Sanfilippo reaches new levels of evocative communion with this fresh suite of aptly named 'piano textures'. Establishing a blissful space between the timeless and the exquisitely contemporary, these pieces float among reverberating clouds, hang against sparse electronic patterns or simply surround the listener with incredibly up-close intimacy. The piano naturally holds centre stage in each piece, Sanfilippo masterfully managing to maintain a wistful soft-focus consistency whilst delivering delightful variety of approach. Some tracks are subtly melodic, beautifully fragile, delicate; others are deeply expressive, impressionist mood pieces. Field recordings and electronic atmospheres, for the most part sit back in the mix, understated, inconspicuous - one or two tracks though bring bright flourishes, string swells or dull bass booms to the fore. Piano texture IV is recorded with a pleasing vintage feel that recalls old black and white films of the early twentieth century; piece IV wells up into heaving climatic swells of emotion; track I feels like something from the ambient end of a downtempo, chill album with its low percolating bass burble and occasional glitchy flecks. ARTWORK: Tastefully packaged in a two-panel digipack, Piano Textures 4 matches the musical grace, dreaminess and timeless-modernism with simple, near monochrome imagery. An elegant, tightly cropped mini-skirted figure appears to drift amid urban hued mist. The album title is framed against the girl's legs in a small turquoise box - sharp and tight. The rear panel echoes the image of the model, this time full length, lace draped-arms flung high like angel wings. Track titles are listed here, again simple: I II III IV V VI VII VIII IX. Within, the upper half of the cover figure fills the left section with brief recording details and credits above. OVERALL: Bruno Sanfilippo builds further upon his excellent catalogue of Piano Textures with the fourth in the series Piano Textures 4. Released, as usual, via the artist's own ad21 label nine new recordings showcase what really are some exceptional compositional and performance skills. The music can be explored via the Bruno Sanfilippo bandcamp page and of course Brunosanfilippo.com where there are a range of listening and purchase options. As well as the current release a limited edition of signed and numbered collector’s items can be found containing the four Digipack CDs for Piano Textures 1, 2, 3, 4 plus postcards and download codes.
    Morpheus Music
  • Born in Buenos Aires but based in Barcelona since the year 2000, Bruno Sanfilippo is a classically trained pianist and composer whose music lies at the confluence of the modern classical, electro acoustic and ambient genres. Initially launched in 2007 and assimilating diverse influences gathered over the years, Bruno Sanfilippo’s Piano Textures series has slowly turned into a superb never-ending project which the pianist keeps coming back to. Released on his own ad21 music label on 2 December 2016 last, Piano Textures 4 is the fourth instalment of the series. Equally influenced by 20th century classical impressionists like Claude Debussy and Maurice Ravel, the early ambient compositions of Erik Satie and by several contemporary ambient and modern classical composers (Max Richter, Arvo Pärt, Jóhann Jóhannsson or Sylvain Chauveau amongst many others), Bruno Sanfilippo is sound artist whose music often depicts stillness or an imperceptible movement within a defined frame where the light is faint or hazy. In many cases, listening to Bruno Sanfilippo is tantamount to watching an animated canvas. The visuals for the third track from his first Piano Textures album for instance consists of a single shot video of a simple beach scene at dusk with the moving shadows of children playing in slow motion – a defining visual signature for the series. Collaborations in the past, with various electronic artists (Upon Contact Reworked – 2015) and his recent addition of cello and violin on ClarOscuro (2014), Inside Life (2015) or The Poet (2016) all feed into the creative palette of the pianist. If the core essence of Bruno Sanfilippo’s music revolves around solo piano, the Piano Textures project is a haunting immersion into the sonic possibilities of the grand piano from an electro-acoustic point of view. And as is the case with every Piano Textures release, none of the tracks are named and Roman numerals remain the only reference for the listener. Underpinned by field recordings, sampled loops, dreamy reverberation or high-pitched drones, a clear dramatic tension slowly builds up over the first five tracks of Piano Textures 4 only to be released with the gorgeous VI. Shifting from prepared piano techniques with the musician strumming the strings on I or muted effects on V to the grandiose and cinematic on VIII, many compositions follow a simple and meandering melodic progression. Always understated and soothing, Piano Textures 4 pursues Bruno Sanfilippo’s meditative and atmospheric search for the perfect melodic, rhythmic and harmonic combination on the piano. My dearest instrument is obviously the piano, its mechanics and possibilities are truly extraordinary. You can connect the piano with Chopin or Scriabin, but I like to think that the piano is an instrument of the future. Bruno Sanfilippo
    Spellbinding music
  • L’hyperactif Bruno Sanfilippo dresse, avec son quatrième volet de ses « Piano Textures », le plus bel opus de cette série débutée en 2007. Loin de se cantonner à une simple composition modern classical (style dans lequel l’Argentin excelle déjà), « PT IV » oscille entre velléités atmosphériques et expérimentations percussives à la Hauschka. L’ambiance étonne et détonne, se mouvant d’un minimalisme presque froid à son commencement jusqu’à des variations ténébreuses à son apogée. Le voyage dans lequel l’auditeur est ici inextricablement embarqué ne connait point d’atterrissage, l’esprit se perdant finalement dans les détails toujours plus précis de l’intérieur d’un piano soulagé.
    GwendalPerrin.net
  • It's easy to be dismissive of series recordings; after all, one muses, how many volumes in a given series are truly necessary before irrelevancy sets in, with each installment merely recycling ideas others have already sufficiently explored. Upon receiving a new volume of piano textures by Bruno Sanfilippo, the question naturally arises: what can a fourth set possibly offer that hasn't already been thoroughly addressed in the other three; and the fact that the nine tracks are titled with Roman numerals feeds into such questioning, the thinking being that the decision reflects indifference on the composer's part, as if he couldn't be bothered to muster the energy to give the pieces proper titles. Yet all such questioning comes to an abrupt and resounding halt the moment the music begins flooding the room with its exquisite sounds, at which point it becomes clear that Sanfilippo has invested the forty-three-minute recording with the same kind of meticulous care and sensitivity he brought to the other installments. And as far as titling is concerned, one similarly begins to suspect that the choice is not so much a sign of indifference but simply a desire on Sanfilippo's part to let the listener develop responses without being cued interpretively by the composer. Recorded at Onix II Studio in Barcelona in early 2016, the release is the fourth in a project initiated in 2007. On these nine delicately rendered exercises in piano minimalism, Sanfilippo repeatedly shows himself to be artful in the way he complements the acoustic timbres of the keyboard with a variety of electronic atmospheres and effects. No enhancement feels arbitrary chosen or gratuitously added; each sound helps realize the composer's intended effect and desired mood. At times the treatments in play are so subtly applied, they almost go unnoticed, such as the way reverberations bleed off of the piano's notes during the impressionistic third setting. In other cases, the non-piano effects captivate the attention for being so unusual, a case in point the fourth, where soft, synthesizer-like siren tones rise and fall in the distance, their emergence seemingly triggered by the piano chords. Sanfilippo keeps things interesting throughout by varying the moods and sound design. Whereas the wistful fifth exudes the character of a sentimental ballad, others are ponderous and brooding exercises in classical elegance. In such cases, his command of melody and compositional form is especially noticeable, and as over-used as the reference is, it's well-nigh impossible to ignore how much the ninth setting suggests the kind of thing Harold Budd and Brian Eno produced decades earlier on Ambient 2 (The Plateaux of Mirror) and The Pearl. Regardless, one imagines Sanfilippo would be happy to have his name mentioned in such company.
    Textura.org
  • The humble, plain-speaking -- yet accurate -- title of Bruno Sanfilippo’s latest release seems to me to hardly do the collection justice. ‘Piano Textures 4’ is exactly that -- the fourth so far in a series of deceptively delicate and melodic sets of composition. Sounding as contemporary -- and then some -- as the sonic medium can muster, the terms ‘minimal’ when combined with ‘modern classical’ also fail to convey the sort of strange, transformative alchemy at work here. Perfect, rhythmic piano playing that rises and falls as swells in the deepest ocean. The washes of sound burst with a full range of deep aquatic hues through to the lightest of misty greys that currently (often) hang over the Holbeck skies, suffusing us with an atmosphere as close to ‘mystical’ that we’re likely to experience in a tower block. Intensely evocative atmospheres that suspend airily and weightlessly, often with colour and suffused light lifting the fragile nature of these pieces. It’s kinda magical, really.
    Norman Records
  • It’s been out for a little while now, but there are few better ways to purge the audio clutter of party music, end-of-year lists and Christmas gifts, or to cleanse the aural palette for a new year than by bathing in Bruno Sanfilippo’s austerely beautiful pieces. Piano Textures 4 may have the opposite of an evocative title, but the composer’s music is anything but cold and clinical. The nine nameless pieces are tightly composed and precisely played, constructed with minimal means (piano, a few found sounds, some barely perceptible but very effective electronic elements) for maximum effect. Each composition perfectly encapsulates a specific mood or emotion, transmitting strangely familiar feelings without ever resorting to anything as extrovert as melodrama (or even drama). That’s not to say the music itself is drained of emotion; it’s just that those emotions – though piercingly vivid in their evocation – are in themselves essentially quiet, if deep; melancholy reflection, regret and tenderness, rather than anything more extreme. It’s a very embracing, quietly magical piece of work. Although refreshingly minimalist in their conception, Sanfilippo’s compositions are not bare exactly; the beautifully clear piano is enveloped in a limpid atmospheric swathe of gentle reverberation and augmented by the aforementioned unobtrusive accompaniments, most notably warm, rich bass tones, a hint of quietly percussive electronica and occasional ethereal sweeping/soaring notes, adding their own otherworldly colour to the music. What makes this delicate music so special though, is that despite all its soothing qualities, Piano Textures 4 isn’t a womblike psychic withdrawal from reality; this is a modern, urban album and the atmospheres here are of deserted streets in the early morning, flat grey days and weak sunlight reflected on canals. It’s lovely; but it’s the loveliness of the mundane and everyday. The individual tracks are fairly varied, but the overarching feeling of somewhat fragile contemplative restraint makes it flow like a soundtrack to some low-key Ibsen-esque existential drama; and therein lies both its weakness and strength. Piano Textures 4 is a beautiful, moving album, so much more than the set of academic exercises its (otherwise apt) title possibly suggests, but it is also something less than a record for all occasions. There’s nothing wrong with that of course; even if the times when you want to clean out your head and wallow in a feeling of withdrawn gentleness are restricted to post-holiday, post-binge hangovers, Bruno Sanfilippo has produced an album – indeed a discrete sound-world -that can take its place alongside similarly specialised releases by composers like Max Richter and Harold Budd and get you where you need to be. By Will Pinfold
    echoes and dust
  • Bruno Sanfilippo has a broad repertoire of ambient instrumentalism under his belt, and this is his fourth release focused primarily around the piano as his axe of choice. Despite the name, the piano sounds herein are fairly conventional, sounding perhaps closest to the pastoral, star beauty of Ryuichi Sakamoto’s solo piano works. It’s a clever use of the instrument, where nearly all of the music is comparised of either traditionally playing the keys, tapping the strings inside, or otherwise recording the guts of the piano to get the sounds he requires. Only occasionally does he deviate into other sound sources, such as the wailing background accents of “IV” or the deep, sub bass low-end of “I.” The elegaic largo of “V” has all of the romance of Chopin but with a tinge of tape decay wooziness, like it’s playing back just a hair too slow. I get a similar Chopin influence on the repetitious, steady strikes of “VII”; I can’t help but assume the likeness to Chopin’s so-called “Water Drop Prelude” is deliberate, with the same delicate malaise of that prelude’s center segmen. By virtue of their starkness, both of these provide a contrast to the more cinematic sweep of “VI,” in which Sanfilippo’s keys are joined by deep bass and soaring atmospheres, or the elegant swoon of “VIII,” by which point Sanfilippo’s oscillation between starkness and fullness becomes more obvious. He saves the most painful beauty for last, in the reverberated loneliness of “IX”’s plaintive keys and faint, droning overtones. It’s a gorgeous collection of pieces that I can’t recommend enough, varied in dynamics and arrangement while remaining loyal to the piano as a focal point.
    Ear Influxion
  • On this fourth edition of his Piano Textures series, Bruno Sanfilippo continues his exploration of ‘minimalist piano concepts’, combining the sounds of the piano (and sometimes prepared piano) with electro-acoustic backgrounds. In his own words: “Sometimes they ask me if I am a piano player who ventures into electronic music, or an electronic musician who ventures into the piano. […] I do love the sound of the piano just as much as I love electronic-based music. I know some times I can get some listeners confused by this, if I do, I’m so sorry. But, at the moment I will passionately explore both fields.” Minimalist and modern classical piano music is a crowded genre nowadays, it can be hard to see the wood for the trees. But for his restrained but emotionally engaging compositions, his perfect sound quality and combining the sound of the piano with more experimental electro-acoustics, Bruno Sanfilippo can stand the comparison with fellow contemporary classical composers like Max Richter, Jóhann Jóhannsson and Harold Budd.
    Ambientblog
  • Bruno Sanfilippo‘s fourth volume in his Piano Textures series came out in early December, and although that may have been a bit too late for many other Best of the Year lists, it nevertheless made it onto Headphone Commute one, in the proper Music For Watching The Snow Slowly Fall In The Moonlight category. And even though it has taken me yet another three months to get around for this proper review, I must admit that this Piano Textures 4 release is one of my favorites, and feel that it would be yours too. In a way, Barcelona-based Sanfilippo managed to capture some of my favorite ‘textures’ [be that as it may] of my beloved instrument with a few distinguished nods towards some acclaimed composers, such as Nils Frahm, Hauschka, Max Richter and even Ryuichi Sakamoto. Beautifully produced, tender keys glide effortlessly over some gorgeous piano pads, prepared hammers, and even deep rumbling bass. The melodies are simple, delicate and unique, falling upon my ears like sparkling snowflakes in the reflected radiance of the orb in the night. Gentle tapestries of sound are cradled into a lazy dream with a little help of a timed delay, space reverb, and echo. The album approaches the category of ambiance, with its barely hesitant tempo, deliberate spacing, and leisurely paced flow. I especially love all of the fragile minimalism expressed through the pieces (really remind me of the above mentioned Sakomoto, and I hope that’s a compliment), exploring the distance between all the chords, measured in space, time, and something else, completely unmeasurable. As part of this album write-up, I’m also excited to run with an exclusive première of a Piano Textures 4 video, released by Bruno specifically on Piano Day, the 88th day of the year (named by Nils Frahm after 88 keys on the keyboard). While you’re here, check out pianoday.org for all the exciting events (and many other surprises) happening throughout this week, and especially today! Obviously I recommend that you pick up the first three volumes of the Piano Textures series. I also want to point your attention to his recently published The Poet, released on 1631 Recordings in April of 2016 (watch the music video above). There is also a 2015 remix album, Upon Contact Reworked with contributions from Francesco GiannicoOlan Mill, and Hior Chronik among others. Catch Sanfilippo in concert if you can (one of the items on my “to-do” list, since I moved to London), and be sure to check out his past releases and collaborations on his very own AD21 imprint – there are a bunch of albums for you to explore if you are new to this modern classical composer. Highly recommended!
    Headphone Commute
  • "Piano Textures 4" sees a continuation of Mr Sanfilippo’s journey through refined electro-acoustic aural realms. It contains nine narrative compositions of intense piano minimalism, treatments, field recordings and sophisticated electronics evoking both mystic and dreamy moods. The timeless, at times even fluid character of the outcome is clear from the start as is the neo-classical perfume shiny through gently on various passages while it now moves even closer to the imaginative works of Ludovico Einaudi and Harold Budd. Especially the sonic poems "Piano Textures 4 VI" and "Piano Textures 4 VII" show this most clearly with their sustained dynamics while I personally rate the highly emotive/cinematic "Piano Textures 4 VIII" as the highlight of the 42-minute release. The stillness found in the Eno-esq closing piece kept resonating gently in my head long after the record came to an end. All in all, "Piano Textures 4" is a mesmerizing piano-based ambient canvas giving a voice to in-depth worlds.  Bert Strolenberg
    Sonic Immersion