When you look at the span of this French pianist and composer’s back pages, the rich wash of sounds on her excellent debut album makes total sense.
Prior to joining Fat Cat’s post-classical 130701 ship, Levienaise-Farrouch worked on film scores, sound design projects and classical pieces, all of which shine through here.
What’s striking is the ease with which she elegantly weaves various nuances and textures, from classical to electronica, through the material.
Tulsi is a beautifully tended array of sounds extrapolating the drama in the song, while the spacey, moody pitch of Strelka catches her deft ability with cinematic sweeps of sound.
Levienaise-Farrouch rarely relies on frills and tassels, leaving the bare reality of the notes to make a compelling case for her work.