When is a piano EP not a piano EP? When the piano is recorded, then partially removed, leaving an “empty shell” where the notes one shuddered. The recording operates as a sonic illusion, as the notes heard are not fully there. Some wander between the boundaries of tracks like sheep through busted fences. Others simply wait for company – the sweeps and crystalline tones that fall around the piano like dust from the arms of the abandoned windmill in which it was recorded. In one sense, the organic sounds are receding to expose the inorganic, but in another, the natural is receding to expose the supernatural, the physical to expose the spiritual. In the end, the EP sounds more like an electronic work, as hums and bright chords are accompanied by happy crackle and digital bells. The pops and bings turn out to have more of a presence than the identifiable elements, producing a sense of wonder. As the electric guitar makes an appearance on the title track, surrounded by the buzzing of pixies and sprites, it’s as if heaven and earth were meeting in a sunny glen. Only four tracks dance on this postcard, but enough to allure: a seeming mirage that turns out to be an oasis. (Richard Allen)
A pleasant postscript: the EP also serves as a doorway into the work of Slovakian cover artist Peter Nejedly. Labels, artists and fans alike are likely to be stunned when they look at his portfolio and see nearly 2000 potential album covers that would be worth the purchase on their art appeal alone. For more, check out Peter Nejedly’s website.
Track title: throughout
a closer listen 
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