Kris Lennox’s style is somewhat difficult to pinpoint. His music lies somewhere between Romanticism (Chopin/Liszt), Modernism/Minimalism (Einaudi/Nyman/Glass), with a strong ‘movie’ feel (we can hear Barry, Silvestre, Elfman, and Williams in the music), and a little hint of jazz. The booklet contains full notes from Kris as to where he obtained his inspiration for each track.

Kris Lennox, 25, has been composing since he first sat at the piano, and has always found performance and creativity as two aspects of the one art. Kris progressed rapidly at the piano, and by the age of 17, was performing works such as Liszt’s ‘Transcendental Etudes’, Rachmaninoff’s 1st piano sonata, to the more modern works such as John Adams’ ‘Phrygian Gates’, and Lowell Liebermann’s ‘Gargoyles’. With such ability, he always wondered where the performance of the music of others would ultimately take him.

Kris’ music can be seen as a natural reaction to such a background at the piano – his music is almost ‘anti-technical’; expression is given free reign in the compositions, and technical demonstration is only employed when considered necessary: ‘I always remember hearing piano music before I ever played the piano – even the simplest of pieces sound horrendously difficult, as they are in a language beyond the understanding of the average listener – what is communicated is the expression, rather than the technique or harmonic complexity, as all piano music sounds difficult to the non-pianist!! I try to keep this in mind – I write music that I would like to hear, and as such, the result is usually compositions that the general public also like to hear. Then again, sometimes a little showmanship is necessary! I have shown this in certain sections of my sonata ‘The Craig’, where the music describes a sea storm – as such, it has to be fierce and powerful’.