You might be tempted to call this album orchestral pop except for the fact that one 1900 Parisian cello does not a full orchestra make.
Kristen Miller is the one woman ensemble in question (not to be confused with the Californian actress of the same name). She is accompanied only by minimalist percussion mainly courtesy of her co-producer, Tom Eaton .
Such is Kristen's prowess on this instrument that it comes as no surprise to learn that she was classically trained - she is a graduate of Conneticut University.
Despite this formal background her songs extend far beyond a straight classical repertoire, partly, she says, a consequence of being exposed to Led Zeppelin at the tender age of 12.
Her openness to other musical genres is clear although falls well short of hard rock riffs. Her music is quiet, dreamy and romantic; pop music given a interesting and original slant thanks to her highly individual arrangements.
Her vocals are mostly half spoken, the speciality being for sultry raps that fall someway between that of Laurie Anderson and Ursula Rucker.
This suits the restrained but emotionally charged mood songs which draw on personal experiences yet speak for universal feelings. In the fine opening track (Walk/Don't Walk), for instance, she uses the metaphor of city streets to describe conflicting emotions in a troubled relationship - "you're red and I'm green/ you're stop and I'm go".
Dream On A Bus has a lilting Celtic refrain while other standout songs - Don't Speak and Lilacs use evocative images from nature (sand running black - flowers heavy in bloom) to explore classic themes of love, loss and longing. Her poetic use of language means that she never has to resort to cliched sentimentalism.
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Underpinning all this is her intuitive and highly accomplished musicianship, exemplified in the bold reinterpretations of the two non original songs on the album.
The first is something of an obscurity - Deep Waters was written by Brian King of a Boston art-folk band with the dreadful name of What Time Is It, Mr Fox . The other is much more familiar 80s hit Sweet Dreams (are made of this) by The Eurythmics.
The range and expressiveness of her playing shines through on these songs and is even more impressive on the three instrumentals - Standing, November and, particularly, Away, a beautiful flowing seven minute piece that closes the album on a high note.
I don't normally think of the cello as such a versatile instrument but Kristen Miller has made me think again. This an elegant and multilayered album, easy on the ear and infused with real warmth.
Kristen Miller's website
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