While this piano work poses as ambient and minimalist, it dwells within the George Winston hollows, though gratefully free of the tweeting birdies and crystalline curlicues. The few instances of sound that occur beyond the instrument -- processed or audio-file play that extend the timbral character or modify the natural decays -- are typically pretty obvious and familiar, and rarely interact with the principal playing. That can be interesting, but in this case more often than not the end effect is basic sandwiching. The mayo might eventually get into the ketchup, but both end up resisting the pickle. Which is fine: the music here is pretty and tonal and generally made of rhythmically hammered-out and eager-to-please chord progressions that are piano and forte and predictable, accompanied by the odd chime, some underscoring with low-end percussion, tasteful (wait for it) pauses, turns and strokes. All together the cumulative effect is perhaps too familiar, too reassuring without discounting a high measure of professionalism that remains polite enough not to linger too long. First to last, "Cloudland" turns out to be a mostly heavier-than-air affair. If you're expecting something more experimental or innovative, work over your own perception first by having a few drinks.