It might seem like a waste to have Aidan Moffat – a great modern lyricist – making instrumental music as L. Pierre. But it’s clear from ‘The Island Come True’ that Moffat’s just as capable of capturing a feeling or a moment with fragmented classical samples and field recordings as he is with words. As we’ve come to expect from the ex-Arab Strap man, it’s far from cheerful, but ‘Exits’’ piano pirouettes so daintily, the nonchalant ‘Dumbum’ mumbles so mysteriously and the Tim Hecker-type expanse of ‘The Kingdom’ drones so enchantingly you begin to wonder, why bother with words anyway?
Robert Cooke