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Iamthemorning's debut album '~' is a genuine surprise package opening on 'Intermission I' with multilayered female vocals that translate beauty into a cosmic realm, enhanced by captivating piano. Eventually a backswept slice of sound merges to 'Inside' with an angelic solo vocal by Marjana Syomkina and minimalist piano by Gleb Kolyadin, very raw and intimate. There is something disquieting in the dissonant melody, but the beauty transfixes as a gorgeous violin chimes in. then a viola is played and some very grandiose piano hammering stabs of staccato blemishes. The soundscape builds into a Magma like chant, though always English, and then it breaks again with piano and violin cascading over the organic textures.

The piano work is master class from Gleb Kolyadin and continues to dominate on the following track 'Burn'. This has a heavier feel, more accessible but no less brilliant in structure, especially the way the violins caress the tempos with their own time signatures. The classically trained musicians have a dynamic unity with highly original styles and the vocal is the icing on the cake. There is no getting away from the incredible piano but those violins, cellos and violas are absolutely exquisite.

'Circles' has a simpler structure, almost like a Kate Bush composition, with melodic high register vocals and strings over classical piano. 'Intermission II' is a short cello and piano piece then the heavier piano motif follows on 'Weather Changing' with more of those haunting ghostly vocals. The sound is almost Enya like or at the least Celtic, especially with those violin embellishments.

'Intermission III' is very high vocal reverberations chanting a mantra with piano foundations, soon followed by 'Scotland' that sounds more like a song one might hear on an alternative radio station. Then a plucking string melody opens 'Touching II' though I haven't heard part 1. I really like Marjana's vocals on this again like Kate Bush meets Enya. The atmosphere is rather dark with that reverberating cello plucking sounding out. When the slicing violin sounds enter it resonates nicely and draws me in even deeper. This is very intense unsettling music with a symphonic beauty.

'Intermission IV' has piano layers and a zither sound with odd Oriental nuances. 'Monsters' has a stronger beat that is easy to latch onto, and the vocals are powerhouse along with a tense layer of serrated strings. The lead guitar played by Evgeniy Abzalov is heavy with feedback loops especially the ending.

'Serenade' is a shorter song overlaid with discordant pianos battling it out with a string foundation and effervescent vocals. 'Intermission V' sounds like a tuning up session as two separate tunes are played by piano and violin though it sounds inviting enough as a break. Then the chords of 'Would This Be' strike up, a heavy piano melody. The vocals are mixed to the front lending an intimate setting. The percussion is effective utilising wire brushes to maintain a complex rhythm. The lyrics are about dealing with the pain of brokenness; "I can feel the rain coming down, I can feel the shame, the rain that keeps coming down,

Another 'Intermission VI' breaks the songs with multilayered sparkling vocal harmonies until we get to the final and more progressive piece 'I.B.Too' clocking 11:41. This opens with piano and piercing breathy vocals; "I used to believe in you", Marjana croons, and then the song builds into a heavy distorted guitar riff, and some grand string sections. This is the most progressive song on the album, and includes an extended instrumental section with some sporadic drums and strings. Another Intermission is followed by 'Afis' with footsteps walking till we come to a pretty piano melody played so beautifully and Marjana chiming through with her crystalline vocals. The seagulls and waves bookend the opening of the album.

Overall iamthemorning have created something very special here, so exquisitely beautiful and classical it bears no resemblance to anything else I have heard and therefore exudes an original aroma, so needed these days in the music history. No complaints in the prog department either as it has some odd flavours, and is intriguing enough to stand out among the other Crossover acts on offer. A pleasant surprise, and one album to revere by a band who dares to be different.