Happening purely by chance only recently, the artist and compositions of Richard Luke entered the office at FLW via news of a remix of last year’s ‘Glass Island’ recording. With 2019’s ‘Glass Island’ also being a fresh set of recordings to this very music paper, a request was wired to the pianist/instrumentalist for a chance to experience, first-hand, the tracks making up this sophomore album. With ‘Glass Island’ displaying the singular name Richard Luke, the truth unveils, once liner notes are perused, a second and yet equal main staple of this recording by the name of Amira Bedrush-McDonald. Providing plenty of bittersweet moments and added tension by means of violin and partnering the chief vehicle of piano driving this long player, immediate impressions suggest ‘Glass Island’ is a record filled with much melancholy. That said, it is a beautiful sadness and deeply touching as it grips the senses between its teeth from the initial notes of ‘Everything A Reason’ to the concluding steps of ‘Breathe’. It’s cinematic in its visions as well as intimate where songs build brick by brick and provide optimism via such delights as ‘Silent Story’ and the all-to-brief ‘Last Call’, which captivates via a weaving spell of strings and piano. However, this short moment of beauty flowers into something far greater (‘Freda’) where tears cascade in unision to the delicate sounds peddled by the two musicians at work here, giving way to much reflection and bring to mind Scotland’s romantic poets’ The Bathers circa ‘Sunpowder’ minus the vocals on this occasion of course. There is simply no fault with the second offering coming from the stable that is Richard Luke (and Amira Bedrush-McDonald) because ‘Glass Island’ is an album to break the strongest of hearts yet also provide reasons for optimism that all is not lost. A true work of art.