ALL

This is not background music to relax to, though there’s something undeniably calming in its beauty. It’s music to be consumed in, sink into its depths and float on its updrafts. To revel in its celebrations and mourn with its grief and feel all that it means to exist within universal existence. If that seems excessive, well sometimes hyperbole feels justified. Stop, listen and be in love with the world once again.

The results--as evidenced by such songs as “Gwennilied,” “Aom” and “Koad”--are lush, lovely and inspirational, all exquisite examples of sublime repose simulated through delicate, dreamlike designs.

An uplifting, planet-sized embrace, ALL is another triumph for Tiersen.

With plenty of captivating textures, there is lots to explore on the record, as there is in the world, but the deeper one goes, the more bountiful the rewards.

Tiersen now explores their middle ground without any hint of compromise. ... All ends well. [Mar 2019, p.37]

For an album that is so geographically and linguistically focused, ALL is strangely beautiful when robbed of all its context.

Tiersen's lavish melodic gifts resonate loudest without the bangs and whistles. Glass-like repetitions of Templehof and Prad exerting a heartfelt tug.[Mar 2019, p.97]