An album that continually shifts...

Is something isn't true, then it must be false. Composer and pianist Lambert clearly believes this. If not, why else would he have named his 2019 album ‘True’ and his new one ‘False’? But there is nothing false about this album. It is his most intricate work to date.

Every track on the album features a new collaborator. Normally this kind of approach sets off alarm bells, as the album can be disjointed with no real sense of purpose. On ‘False’ this doesn’t happen. Take the opening few tracks for example. ‘Außen’ has propulsive basslines. They keep everything moving in an agitated way. Much like how during a hungover you are filled with restless energy, but no desire to do anything.

Here it’s hard to say if Tre B. Mal is disrupting or calming things. One thing is certain however, both artists are pulling in the same direction to create something that doesn’t. ‘Opus 23’ features Hexia and is the most meditative track on the album. Serene pianos drift around fidgeting synths. The beauty is how the two tracks are contrasting but segue into each other. It makes the album feel more like a mix than a studio affair.

‘False’ is one of those albums that manages to distill pop culture whilst taking elements from the classical world to create something mesmeric and enticing. The downside is we never get a true idea of where Lambert is at the moment. But I’m nit-picking as ‘False’ is a colourful album that never forgets that melodies are as important as hypnotic Day-Glo fun.


Words: Nick Roseblade

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