TRUTH OF TOUCH (CD/DVD) - CD

Recording information: Acropolis, Athens, Greece (1993); Mandalay Bay, Las Vegas (1993); Royal Albert Hall, London, England (1993); Taj Mahal, Agra, India (1993); The Forbidden City, Beijing, China (1993); The Forum At Mundo Imperial, Acapulco, Mexico (1993); Acropolis, Athens, Greece (1995); Mandalay Bay, Las Vegas (1995); Royal Albert Hall, London, England (1995); Taj Mahal, Agra, India (1995); The Forbidden City, Beijing, China (1995); The Forum At Mundo Imperial, Acapulco, Mexico (1995); Acropolis, Athens, Greece (1997); Mandalay Bay, Las Vegas (1997); Royal Albert Hall, London, England (1997); Taj Mahal, Agra, India (1997); The Forbidden City, Beijing, China (1997); The Forum At Mundo Imperial, Acapulco, Mexico (1997); Acropolis, Athens, Greece (2004); Mandalay Bay, Las Vegas (2004); Royal Albert Hall, London, England (2004); Taj Mahal, Agra, India (2004); The Forbidden City, Beijing, China (2004); The Forum At Mundo Imperial, Acapulco, Mexico (2004); Acropolis, Athens, Greece (2008); Mandalay Bay, Las Vegas (2008); Royal Albert Hall, London, England (2008); Taj Mahal, Agra, India (2008); The Forbidden City, Beijing, China (2008); The Forum At Mundo Imperial, Acapulco, Mexico (2008). Photographer: Silvio Richetto. Arranger: Yanni. International contemporary instrumental (new age) superstar Yiannis Hrysomallis' first album of new studio material since 2003's Ethnicity finds the self-taught Greek composer returning to his instrumental roots, crafting a 15-track onslaught of blistering calm that will appeal to fans of his mid-'90s heyday. Like Ethnicity, 2011's Truth of Touch is built on a foundation of international rhythms, but Yanni's understated phrases and keen melodic sense help to keep the project squarely in the accessible zone. Devoid of any epics (the longest track is just over five minutes), Truth of Touch is a largely instrumental ("the operatic "O Luce Che Brilla Nell'oscurit?" features a male tenor lead) pop record that deftly weaves in heavily cinematic (the dreamy title cut sounds like an extension of Toto and Brian Eno's "Prophecy Theme" from David Lynch's Dune) vistas laced with smooth jazz and tribal rhythms. It may not break any new ground for the pianist/composer, but it's hardly a step back, resulting in a fine return to form for the king of the Acropolis. ~ James Christopher Monger