POPPY ACKROYD - Feathers

At a time when so-called modern classical had already taken flight to become one of the leading voices in contemporary music, London-based (by way of Ireland) Poppy Ackroyd was arguably the most significant discovery of Denovali's 2012 roster. A violinist and pianist with a double conservatory degree, already a member of Joe Acheson's quartet (better known to some as Hidden Orchestra), she had already won listeners over thoroughly with the excellent "Escapement", which was in fact reissued a few months ago with new graphic and visual artwork by Lumen.

The seeds planted on that debut are confirmed with real conviction amid the sweet notes of this "Feathers", the album that proves what once looked like a promising start truly was one. Once again, her gift for crafting melodies that are as lively as they are captivating stands out as the composer's chief strength. But while the overall mood of the first record never strayed too far from the kind of academic elegance that's almost obligatory in contemporary classical circles, the eight miniatures on this new work set aside any hint of grandeur, however modest, to focus instead on landscapes, details, images and sounds.

There's more instinct at work on "Feathers", a more direct approach that doesn't mean giving up on a broad arsenal of instruments: alongside piano and violin, she adds three different variants of harpsichord, a handful of field recordings and some percussion, laying down a pulse that's steady yet always light, fluid, almost whispered. The build of "Salt" is the clearest statement of intent on the whole record, the point where her innate elegance and an almost pop sensibility strike perhaps their perfect balance. The Wayne Gratz-style intro of "Strata", the beating heart of "Roads" and the sample-and-harpsichord litany of "Croft" all follow the same wavelength, further emphasizing the rhythmic element.

It's an album that radiates an unusual kind of joy, especially within the genre, and one that conceals glimpses of serenity even in its most introspective and reflective moments: that's the case with the cinematic adagio of "Timeless", the romantic closer "Birdwoman", and the title track, perhaps the only real nod back to "Escapement", not without echoes of Sebastian Plano at his best. The icing on the cake is the limpid "Taskin", which instead borrows from Tim Story at his finest. And it's precisely this exquisitely positive sensibility that now firmly earns Poppy Ackroyd her place among the greats of an ever more varied and crowded universe.

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18/11/2014