“mother’s day”, the forthcoming LP from Suzanne Jarvie, is a concept album characterized by heavy, heady doses of poignant pianos, groovy guitars, and down home soulful vocals doused in the artist’s unabashed propensity for story-telling. The project will be released on February 20, 2026 on Wolfe Island Records in North America and May 15, 2026 on Continental Record Services (CRS) in Europe.

None of these nine tunes are fast, or even very upbeat. The majority are ballads, the type of slow, stirring affairs that give one pause to sink into the lyrics, and life-experiences, of the singer songwriter. The collection definitely reaches a high point on “Polonium”—and not just because of the curiosity that such a word is likely to produce in the thoughtful listener (or reviewer).

The track is devoid of any percussion and relies on a huge assortment of pianos, ostensibly in sixteenths, for the rhythm. They’re layered, genuflecting before the next dose of the multi-variegated instrument to succeed the next, rippling and cascading like water overcoming all.

The best part, however, is that Jarvie kicks a vocal style that complements, if not outright enhances, that of the instrument. She comes with just as many vocals tracks as there are those for the pianos, and reaches the zenith of the entire outing when her high notes seamlessly blend into those of the lower, dispensing a sense of sumptuousness all but the most distracted observer would not fail to perceive.

“lifeline” makes a run for the most cogent track of the album as well, this time with a guitar riff—purely acoustic, perhaps equalized to emphasize the lows, yet nonetheless transporting because of that fact—that is as endlessly repetitive, and alone, as the pianos on the “Polonium” are tripled and quadrupled. It provides a warm bed for the somewhat country twang of the songstress as she moves and sways her voice in time to the tracks.

Interestingly enough, Jarvie is credited with playing both of the foresaid instruments, though she also has a cast of characters in the double digits that are playing those instruments and several others. The guitar work on “40 percent” is perhaps worth the price of admission on this one alone. It’s not just the acoustic one that sets the tone on this affair; it’s deliciously accentuated with the swerving, undulations of an electric guitar carving aural patterns of unadulterated feeling.

It all makes for very thoughtful listening, and what may very well be one of the more telling releases in the artist’s career.