Boomkat Product Review:
Emilie Levienaise-Farrouch plays it like she means it on ‘Époques’, the french pianist and composer’s 2nd LP with FatCat’s 130701 label. It’s rare to hear a record that combines such direct gestures with keening experimental leanings while maintaining a palpable coherence, but that’s just what Emilie has done here. RIYL Max Richter, Richard Skelton, Jóhann Jóhannsson, Dustin O’Halloran
“Witnessing an increased assurance and dynamism in both Emilie's playing and composing, 'Époques' marks a big step forward for the London-based artist. A bold and adventurous album that alternates between passages of emotive, sinuous solo piano; stirring compositions for viola and cello and some beautifully sprawling electronics, it has been masterfully pieced together to further reveal a unique and intelligent sense of artistry, and a composer who really does deserve your full attention.
Losing some of the chill of Emilie's previous album, 'Époques' sound is both warmer and more honestly, emotively grounded. With a more coherent narrative drive, it retains the former's gentility and intricacy, whilst at times unravelling or teetering towards a palpably edgy, aggressive point of collapse. Over the course of its 44 minutes, the record modulates in intensity and moves between passages of sublime beauty to menace and despair. The tone for the album is outlined within the first two tracks. Opening with the sparse piano of 'Martello', which flowers into life and draws itself around you with sinuous vines and rising clusters of piano, it then falls into 'The Only Water', a rich yet murky, subterranean dreamscape of electronics and strings that hover and saw like Richard Skelton before evolving into some dark chamber duet, whilst slowly everything peels away into layers of delay. 'Redux' is another solo piano track, a meandering drift that winds its own sweet way before falling off into the glowering electronics and spaced cello figures of 'Overflow' and the dark, consumed-by delay piano of 'Fracture Points'. The brooding 'Ultramarine' opens a sound-field that lies closer to film score – edging perhaps towards the sensibility of former labelmate Jóhann's Jóhannsson's brilliantly unsettling 'Sicario' soundtrack.”