Most rock musicians who've tried to take a flyer at classical music (or something like it) approach their compositions from a position of bombast ( ), melodrama ( ), high drama ( ), or purposeful eccentricity ( ). But as pianist and composer with the groundbreaking ensemble , showed it was possible to combine the sensibilities and tonal palettes of indie rock and chamber music in a way that flattered both styles and embraced their best qualities, and she's continued to do so in her solo work. ' second proper solo album, 2015's , collects 11 short pieces (one just over a minute, another eight times that length) that first adapted from her own piano improvisations and then arranged using small ensembles of strings, woodwinds, and percussion. The titles used in reflect a pastoral bent, celebrating the natural world outdoors, but the music reflects both the beauty and the dangers of the wilderness, finding a sense of ominous wonder amidst the trees and the night sky. writes and arranges in simple but bold strokes, allowing her accompanists to add texture and shade while the piano and strings establish melodic structures that provide a sturdy framework for the other elements. Some might debate if should be filed under classical or pop, although the use of structures and ideas gleaned from chamber music doesn't seem pretentious or a stunt in this context, but an approach well suited to the rich minimalism of her compositions. And by the same token, the rock elements of aren't trundled in for effect, but grow organically from the performances of and her gifted crew, just as the recording uses approaches common to pop to reinforce compositions written for orchestral instruments. has given us a collection of new pieces that quietly dazzle with their evocative power, intelligence, and strength, and is something lovely and truly extraordinary that ranks with the best, most enveloping music of recent memory. ~ Mark Deming