A throwback to the classic French chansons of yesteryear, classically trained pianist Catherine Major's third album, Le Désert des Solitudes, is an effortlessly understated affair that furthers her status as Quebec's most elegant and refined singer/songwriter. Many of its 12 tracks consist of little more than Major's delicate but expressive tones and minimal piano ("Soixante," "Bien," "Petit Debut d'Eternite"), but it's a stripped-back style that allows her to showcase a highly literate quality missing from some of her contemporaries (thanks to lyrics penned by Montreal poet Christian Mistral and her mother, Jacinthe Dompierre) and her passion for the music of the 19th century romantic period. Even the tracks accompanied by the string quartet Mommies on the Run avoid the temptation to drench the subtle slow-burning melodies, instead opting for a lush but unobtrusive approach, as evident on the melancholic opening title track and the chamber pop of "Saturne Sans Anneaux," while "Tape Dans Ton Dos" and "Chansons Sans Lui," the former a Gallic folk-pop-inspired ode to her daughter, the latter a toe-tapping jazz-hands number that could have been lifted from a classic MGM musical, cleverly provide a more uptempo alternative to the rather sedate pace while remaining true to the album's retro nature. The warm analog synths and R&B rhythms of "Bouche-a-Bouche" perhaps indicate a more contemporary direction for album number four, but Le Désert des Solitudes' Top Ten chart position suggests that she should continue to pursue her vintage but effortlessly timeless sound further.