The falling leaves of autumn, where winds, unleashed over the mead, blow trees barer and barer, carry leaves through the air, eddies on the ground and it becomes silent ... «Sounds between falling leaves» are, for the most part, elegiac, modal songs in simple harmonies whose motions are gentle and soft and more inwardly directed. In nuances and subtlest vibrations, a massive force is unfolded from a delicate, virtuosic play for tranquility and slow flow. Lisette Spinnler's songs are dialogues with nature which have lived in and touched her soul since childhood. Her songs, the airy vocals, shimmering and shadowy, tinted and elaborately formed, are natural and do not seek to be an event. However, they are an event, provided that we listen.
It is the most sensual and, in its own way, most introverted album from the vocalist thus far with songs all written by her, except Afro Blue. It is characteristic that she has also cast two of Emily Bronte's poems in music
for the album: The British poet (1818-1848), who wrote under her pseudonym Ellis Bell and during whose lifetime only one novel(Wuthering Heights, 1847) and one single book of poetry (Poems, 1846, with her sisters Anne and Charlotte Bronte) were published, sang odes to fantasy worlds and nature in her lyrics and was an enthusiastic animal lover. Lisette, who occasionally goes into her own spontaneous fantasy language on stage, appears to be her soulmate.
«Sounds between falling leaves» is also the first album with the current lineup and Lisette was well-advised to always provide her first-class rhythm section with the necessary leeway.Piano, bass and drums reveal a signature, very much at home in the contemporary, in which the collective sound is brought to the fore instead of brilliant solos. As a result, the vocals automatically gain emphasis and meaning which, wherever it is present, becomes the focal point. The quartet has been working in this fixed lineup for four years: Stefan Aeby piano, bassist Patrice Moret and Michi Stulz on drums; all fantastic musicians with excellent techniques, intelligent minds and a most sensitive interplay. They get to the heart of Lisette's songs and presents them at their best. The room for improvisation, which is indicative of the compositions, is utilized and developed collectively in advance, even if here and there a prominent dialogue or an individual instrument is given centre stage. Lisette and her musicians are extremely compact on the entire album the songs and their nature are kept in their own dynamic balance; between the falling leaves.
(Basel, im Februar 2017/Steff Rohrbach)