Fugue Volume One by Harvey Summers

 

Fugue Volume One

By

Harvey Summers

Written by

Steve Sheppard

 

It’s incredible to think that my musical journey with Harvey Summers is now 22 years old, it started back in the year of 1994 with the album Dream Spinning, two decades later, Harvey and myself now have something in common, we have both created a concept album from trying and testing times for us both. Concept albums are difficult to achieve and based on a personal theme they can be sometimes hard to get over, but here on Fugue Volume One Harvey has gone on to create something that yes is deeply personal, but also incredibly addictive and palpable.

The album is part of a bigger project and Volume One is blessed with 8 fluent solid and magical tracks, now I will set the scene by using a direct quote from the artist and then you can to go on this mystical and magical journey with me and the composer as we gaze in the scrying mirror at this brand new creation. Harvey says “At the centre of Fugue is the Archive of the Lost — an enormous, ancient and rather magical library run by a group of witches, where things that have been forgotten, displaced or perhaps shouldn’t exist at all are preserved”.

Now there is so much more to this amazing album than one might first think, apart from the musical contents we are gifted a story of deep and dark proportions, where there is truly more than meets the eye, so to each and every listener I say delve deep and turn the page, and go then, there are other worlds than these.

Track one is our beginning, the slow and ponderous string start called Fracture, it’s almost like the rifts in the space time continuum are slowly breaking open to allow us to peak behind the veil, the classical motifs are strong here with elements of Phillip Glass meshed into the weave of a brilliant opening, this leads us seamlessly into the realm of the next offering called The Memory Harvest. There is a far deeper aspect to this creation now, one that requires an enquiring mind or perhaps no mind at all, and perhaps that mind has been altered in some aspect, this is a crafted movie styled opus that constantly builds, pulls back and progresses, the crescendos and powerful refrains and percussion manifest a powerful masterpiece of grandeur indeed.

The sounds preceding the musical construct on Coven reminded me of the good old days of new age music and Medwyn Goodall’s Clan albums, the early ones. However, Summers has gone a stage further by building on the foundations of the story and providing a deeply scared offering here indeed, one can feel the depth and mysticism within the very weave world of the piece, the ethereal vocalisations are simple breath-taking especially in contrast with the biting and percussive powered opus, at times this also reminded me in parts of Jeff Wayne’s War Of The Worlds release back in the day in intent and power.

When I listen to this album I am reminded of the entire planet I created in my memory palace, like Harvey, I know that world as well as I do the one I live within now, it is as real to me as this one. One must think what an amazing thing the human mind is, what great potential we have for creation and manifestation and on tracks like The Circle of Accusation, we can explore further, deeper and darker, the album is a perfect soundtrack multi-instrumental release. There is a sense of procession and mystery here that is about to be revealed that is so very fascinating and deeply addictive about this offering.

As we glide into the world below us, we follow the beam and find the very next window of musical opportunity called Furnace of Remorse. I must admit this reminds me of one of my pieces called The Forest of Darkness; there is an ambience here that flows, but on this part of the album, there is almost a hint of a pavane, a classical motif that allows the composition to build, float and move onwards, this is also the shortest piece off the release at just under 5 minutes.

We are now so deep into the woodlands of mysterious consequences that we find a dramatic offering that literally creeps up upon us, and with such great drama and poise, Ravenwitch. Once the offering is established, the percussive drive urges this almost wraithlike energy to swirl around us, probably one of the most emphatic tracks off the album, although I would urge listeners to treat this entire release as a constant musical narrative. The chant like sounds and the electronic vibes give this specific offering a gritty edge that manifests a total dominant physical and powerfully intense arrangement.

Our penultimate crafted slice of genius is Requiem², the softer approach from the very opening is numinous and the ambience contained within this quite amazing long form manifestation is otherworldly. The symbiotic vocalisations and choir create a stunning juxtaposition of musical candour. The soundtrack style is most certainly Lord of the Rings in its epic glory and regal reverberation. For me this is one of the most amazing cinematic offerings I have heard for decades, and on its own is worthy of an award for its content and substance.

The concluding musical narrative is entitled Incantations. There is also an element of The Sorcerer’s Apprentice, composed by French composer Paul Dukas in 1897, within this last composition, but this is far darker and it resonates through a multitude of musical dimensional corridors. This is the chaos that all magic comes from, the spiralling power that fills the void of reality as we know it, in between the realms of sanity and back across the twilight zone of tomorrow’s horizon. The spell summoning in the mid-way part of this track is literally impossible to stop listening to. Here the artist does something so masterfully on this final offering, he pauses and allows the remaining piece to slowly build from its natural state, and it’s the coda as you would expect leaves the listener on the razors edge wanting more.

Fugue Volume One by Harvey Summers has to be the artist’s most comprehensive work thus far, he has taken a personal real life occurrence with his health, and from those dark moments manifested something quite incredible, it would be unfair to compare this to any of his previous work, and the listener should listen to it as a complete musical tale of absolute epic proportions, and jump right into the portal of Fugue Volume One by Harvey Summers.

Varosha, Eva’s Story By Steve Sheppard ft. Chrissie Sheppard

 

Varosha, Eva’s Story

By

Steve Sheppard ft. Chrissie Sheppard

Review written by

Andy Rogers

 

Steve Sheppard is a busy man it seems! Not only does he present shows, write reviews (and more) for One World Music Radio he is increasingly becoming known as a musician who is clearly not content to rest on his laurels: Hot on the heels of his highly acclaimed recent album Mansuria, Planet of the Gods (a collaboration with David De Michel released a couple of months ago) he has now found time and inspiration to record and release this remarkable new single, Varosha, Eva’s Story , this time with the very able assistance of his wife, Chrissie Sheppard.

This new single is inspired by, and dedicated to, Eva Voss, a lady they met in Famagusta in the North of Cyprus. She shared her story with them: about the invasion that lead to Cyprus being divided when she was a small child. Amongst other things she told them how she had to leave her home and hide in the trees just to survive, this so moved Steve and Chrissie that upon returning home they wanted to record this single as a thank you and tribute to this brave lady. 

As with his previous release, Steve has taken the opportunity to take his music in another new direction. This latest single is made up of several parts or sections – almost in fact a kind of New-Age tone poem, very descriptive not only in the music and how it is played, but also by the use of some very atmospheric sounds as collated by Chrissie.

Varosha, Eva’s Story starts with the sound of children playing happily in the street while a gentle reflective tune plays on what is possibly a bouzouki or mandolin… Suddenly this bucolic scene is shattered by the sound of gunfire as the music takes a dramatic and disturbing turn. The peace is shattered and the music takes on a much darker edge. It is clear the air is full of tension and fear. Suddenly, the music picks up pace: in my mind I see frightened villagers running for cover and the safety of the trees. Eventually the music starts to resume its previous calm … the children’s voices are heard again but are they really there or is this a memory of how things were before the invasion? At the end, the reflective tune we heard at the start returns to conclude the piece and bring things full circle.

Varosha, Eva’s Story is yet another fine single from Steve Sheppard: a piece of music that shows that there is a lot more to come from Steve as he continues to evolve and grow as a musician.

Life and Death (Reimagined) By Matias Bacoñsky

 

Life and Death (Reimagined)

By

Matias Bacoñsky

Written by

Steve Sheppard

 

This musical journey of some 10 years with pianist Matias Bacoñsky started back in 2016, but has birthed a period of excellence in music for the artist. He brings us quality compositions, filled with passion and emotion for the willing listener in his unique story telling style, on his latest creation called Life and Death (Reimagined).

Following on from the New World album of ‘25, the artist gives us a 12 track release of passion and power on these reimagined offerings, the first of which is the emotive The Last Goodbye (Reimagined). As I have said many times the artist isn’t just a pianist and a composer, he is a compelling story writer, and this opening offering expands the original piano composition with orchestral arrangements, additional instruments, and a more cinematic sound, this track emphasises that feeling some of us have suffered, one that makes the piece feel less like anger and more like “I don't want this to end, but I know I can't stop it.”

Death of a Dream (Reimagined) is a deeper offering with a familiar melodic line that runs through the entire narrative. When one loses a loved one, it’s an unusual process and far too deep to cover on here, but the silence is palpable and the word death no longer just reflects a human condition, but to all parts of the aforementioned relationship. The repeated rhythm feels almost like something that cannot be escaped, in short the the energy of acceptance sinks in.

We now move onto the offering Contemplation (Reimagined). Strangely enough is actually a darker; the symphonic majesty is very pronounced here as well in a very fluent and moving opus. Then it came to me, I began to understand that this makes the track quieter psychologically, even if the music itself can still carry considerable darkness.

One of my favourites is up next and called Never Lose Hope (Reimagined), the lighter progressive notes here actually do portray hope, and that mindfulness of life still keeps moving forward, still keeps going on. This is a beautifully organic offering, one that grows like hope, the faster tempo but softer touch is beautifully performed by the artist, and that makes it emotionally different from the first three tracks, creating a fascinating symbiosis of emotional texture.

My Nightmare (Reimagined) reminds me of my time trying to deal with grief, the guilt and regret, and wishing things had been different, those moments of bad communication that could have had made things so different, but the same result is still here. This almost classical narrative from the artist is deep and dark, and is moody, and the question he is perhaps postulating through his performance may well be, that it is much more human to feel, hope isn't the absence of darkness, It's the decision not to surrender to the darkness.

At the midway track we find a slightly lighter refrain called Believe (Reimagined). The energy of hope combines with a new sparkle in the desire to once again move forward and not stagnate in woe, this is a lush uplifting performance from the artist that is incredibly empowering, the ethereal vocals support the piece beautifully and it is as if you are finally saying. “I don't know that everything will be fine, but I choose not to stop believing.”

So into the second half of the album we go with a more spacious opus called Into the Light (Reimagined), there is a latent urgency in this piece that is deeply exciting, it is as if the performance is excited about the new change ahead, the piano of the composer is once again fluent and smooth. The earlier piano-centred material represents the inner person. The larger orchestral world can represent the world opening up around them as the emotional space gets larger; the progression of the piano in this work is sublime.

The level and depth of this next moving offering is felt at its optimum level and entitled Stay With Me (Reimagined). There is a sense of desperation and frailness in this composition, one that slowly gains strength and confidence during the arrangement, but the composer makes an interesting juxtaposition of light and shade here that is incredibly moving. There's a subtle vulnerability in saying “stay with me.” And that’s what makes this very track so palpable.

Painful Memories (Reimagined) is a similar theme as the last track, where enough time hasn’t passed enough for letting go is concerned, one can still be haunted by memory, no matter how distorted, because now those memories have had the luxury of hindsight. Earlier, the character desperately wanted to move into the light, now they've discovered something, you don't leave the darkness completely behind, you take parts of it with you.

The deeper weave of the album is reached and the darkened alleyways of reflection are upon us as a demand is made on the piece Remember Me (Reimagined). The symbiosis and arrangement of piano and orchestration is strong and fluent in the compositional structure. Indeed there is a slight unrealistic moment of hope here. The orchestral segment can suggest the continuity of that memory, perhaps something larger that survives beyond the immediate moment, yet the coda tells the absolute truth in its quietness and delicate conclusion.

The penultimate piece is called Without You (Reimagined), once more the struggle for sanity continues, a new beginning has started regardless of memory and reflection, a time without the other person this time around, there is a dramatic phrasing here that manifests an urgency of embracing the future and the reluctance to fully let go, that expansion can be understood as making the emptiness itself feel larger, the piano represents the person experiencing the absence, the surrounding orchestral space can represent the world continuing around them, it’s a very human struggle indeed from one of the most emotive offerings from the release.

The most dynamic piece from the album is the concluding tale called This Is Not the End (Reimagined). Again the sheer depth of this piece is vast, deep and dark, but as the piano weaves its tale certain energies of defiance can be found hiding in the dark shadows of the mind. At the beginning, the protagonist is defined by what they've lost, by the end they're defined by what they've learned from the loss, again a powerful juxtaposition of emotions.

Life and Death (Reimagined) by Matias Bacoñsky is a roundup of a tale of loss and the struggle to overcome grief, the key to this as I have found in my life comes to one word and one word only, time. Here the composer draws 12 narratives and creates a rolling and deeply personal reflective story, one that many of us have had to struggle with from time to time in our lives. Here Matias tackles a difficult subject for us all, and succeeds in pulling off a cathartic journey with Life and Death (Reimagined) by Matias Bacoñsky.

Painting in the Dark By RH Fox

 

Painting in the Dark

By

RH Fox

Written by

Steve Sheppard

 

This is a strange experience for me as Robert is a friend of mine who I once met here in Cyprus many years back and have literally seen him emerging stage by stage as a musician of eager talent, to an artist of great skill, apart from that he is a very nice person and he deserves all the plaudits he is most certainly going to get from the release of his brand new debut album Painting In The Dark, under his chosen name R.H. Fox.

If I tell you, that the album is utterly supported by both the legendary David Lanz and his wife Kristin Amarie, you will then understand the kudos it already gets. The opening piece is a fine example of the brilliance that is about to unfold and called Follow the Creek featuring Charlie Bisharat. There is a beautiful nostalgia here, one that the piano of Fox emphasises so well, it establishes the harmonic environment and keeps the piece moving, whilst the Bisharat violin floats above the piano with long, lyrical phrases.

Reflections of Yesterday is one of my favourite offerings from the album; its wistful quality is almost dreamlike in its tonal delights, the melodic structure is also fascinating, creating a juxtaposition of light and shade, while the darker harmonic material suggests memory, regret, or distance, as the brighter segments feels like the present moment briefly illuminating that memory, this is a very attractive offering indeed and very well arranged.

The Mystic features the vocal talents of Kristin Amarie early on; here Fox manifests a real masterpiece of great skill and instrumental magic and features Nicolas Ntimas on Greek bouzouki. This track also released as a single is a fine example of globally infused music. It isn't simply new-age piano with some ethnic instruments added. The Mediterranean instruments fundamentally alter the harmonic and rhythmic atmosphere, thus a true masterpiece is created.

On Passage of Time we have a horse of a total different colour, the more melodic and soothing side of the artist is explored, a more melancholic taste is explored too. The piano is particularly important here because it can represent the clock-like continuity of time without literally sounding like a clock, the violin seems to dance around the clock and in doing so a tempting pastiche of harmonic bliss is created.

That all important part of the album is up next the title header as we reach Painting in the Dark, note the defined usage of electronic instrumentation in this offering, one may find it strange, but it works well and manifests an intriguing composition. This is a fine representation of the meaning behind the artist’s love of photography and music, so think of all the textures here as colours being added.

Visions Never Seen is one of the pretty tracks from the album; however one can tell the influences and one can perhaps enjoy imagining something that exists internally before it can be seen externally. An interesting aside here, especially with what is to come, but through the album I could feel and sense Beatles energy, a Beatles flavour, particularly in the melodic sensibility. Singable, rounded melodic phrases rather than purely ambient motifs, a melody that feels simple on the surface but harmonically richer underneath, there are unexpected melodic turns that give the phrase a slightly wistful, bittersweet quality, the sense that the melody could almost be sung as a pop song, even though the track is instrumental, well done Mr Fox.

Crane Dance is up next and in the deeper weave of the song, this is a truly beautiful composition, one can feel the force of Lanz, it is strong in this one! A lyrical, immediately accessible piano melody rather than an abstract ambient theme can be found here, the time signatures and structured performance is utterly incredible and emulates the creature’s movement perfectly, where perhaps one can find a sense of sentimentality without becoming overtly dramatic, a very classy piece.

Here is that aforementioned moment I was eluding to earlier, Free as a Bird, the song itself was written in 1977 by John Lennon who wrote and recorded the original home demo, several years after The Beatles had broken up. Here RH Fox produces a wonderfully lyrical version of a fantastic song for us all to enjoy, the piano allows the emotional material to settle rather than insisting on a big final statement.

The concluding narrative is entitled Seabirds' Lament and is the perfect parting gift for us all; there is a wonderfully illuminated sense of reflection deep in the weave of this glorious arrangement. Fox leans into loss, solitude, and the passing of something beautiful, perhaps Fox creates the sensation of watching something disappear into the distance, in an amazing finishing arrangement for the album.

Painting in the Dark by RH Fox is that album that might well make a difference in the genre, it’s like a diamond, and it has many facets and shines gloriously in tone and timbre. Fox should be proud of this and remember for ever, there has been a lot of time care and energy put into this great album and it thoroughly deserves all the love it gets, I’m predicting a very high chart placement and a bright future ahead for Painting in the Dark by RH Fox.

Treasures of Light By Jim Ottaway

 

Treasures of Light

By

Jim Ottaway

Written by

Steve Sheppard

 

I have had the pleasure of being a fan of Jim Ottaway and his electronic music for some 20 years now, my first release gained was the album Aurora back in 2006, and over the years he has released one quality album after another, and today he is back again with another brand new offering called Treasures of Light, which emphatically illustrates his prowess as an electronic musican of great quality.

The opening offering from this 12 track album is called Tomorrow Never Comes, the speed that it offers is incredibly exciting and with ease a great choice to open the album, and indeed it reminds me in style very much of early Vangelis from ‘77, and an the album Spiral. That is followed by the fluency of this proud offering called Fragments of Fate (2026 Mix). Almost regal in stature, hovering keyboards offer a processional approach, with subtle electronic wizardry mixed in the weave of the composition to add extra flavour, in perhaps a David Wright styled opus of pomp and circumstance.

There is a sea change on the next offering though that is equally as interesting on the track called That Lonely Place. A steady key press can be found and around it a flourishing keyboard pattern, along with some deft percussion, the overall narrative reminds me greatly of the iconic, Carpenters, Assault on Precinct 13 theme music.

The album is a fine example of Ottaway’s electronic prowess, revolving from cinematic theme towards a more niche style of Berlin School, and then a plethora of tracks in the middle of both of those. The vibrant tapestry of A Promised Reality with its ‘80’s feel being one of them, and onto beautiful textures of a more spacious musical environment on pieces like Climbing Rainbows, one of my personal favourites from the album, the softness of sound and soothing nature of the melody of this track is utterly breath taking. We then have another mix changed at the mid-way marker with the offering Exponential Progression (2026 Mix). Jim has done a very good job of cleaning the entire piece up to crystal clarity on this one.

Dreams and Visions, contains a beautifully layered consistency, pertinent percussion and a steady onward progression that is very appealing. It creates a vast open landscape of sound with no immediate rhythm or beat and slowly transposing to soft, organic-sounding electronic melodies which gently rise over the background noise of the track, a very inventive offering indeed.

The more keyboard led nuance of the following narrative is even more interesting and called Dreaming of Infinity. Sparkling, high-register synth frequencies drift over the top of the mix, whilst a rhythmic pastiche of a modern percussive beat underpins the entire composition brilliantly, perhaps Ottaway is shifting the sonic perspective to the vast, cold, and beautiful scale of the outer universe, regardless this is a fine and fluent composition.

Our next offering is entitled Strange Paradox, a piece that holds a deeper texture and a natural electronic vibe to enjoy, another Carpenter styled opus that reminded me of the Escape From New York theme, but at an increased tempo and with relevant percussion. The song layers mysterious, shifting melodic notes over warm analogue synthesizer pads to evoke a curious and questioning mood.

The musical narrative that is upon us next is the evocative title track itself Treasures of Light, I hear elements of Glenn Main in the weave of this arrangement, and in doing so Ottaway builds a grand, orchestral electronic wall of sound, one that has one of the best melodic structures of the entire album, he then delivers a bright, uplifting, and symphonic electronic experience of great quality and timbre.

The penultimate offering takes us back to Vangelis, one of my favourite albums of his was China, and the opening of this piece reminded me of that album. The main body picks an ever onward tonal narrative that almost reminds me in part of UK EM artist Geigertek, and in fact is the real concluding musical tale of the album and a smart one that is fresh and incredibly exciting and called Radiance of Truth.

We have a bonus track that actually ends the album it is Ancient Rainforest (Radio Edit) [Bonus Track]. The track opens with rich, organic synthesizers and the more orchestrated sound of Ottaway can be found on this last official track off the release.

Treasures of Light by Jim Ottaway is another in the long line of high end quality instrumental electronic music albums from the artist. The album's overarching concept captures the beauty of light breaking through darkness, moving from cosmic universal scales down to the organic textures of the Earth. I have always been a lover of the quality of light, and this album serves as a reminder that beauty can be found everywhere, and fans of electronic instrumental music should find a safe haven within the musical walls of Treasures of Light by Jim Ottaway.

A Grand Memoir By Darlene Koldenhoven

 

A Grand Memoir

By

Darlene Koldenhoven

Written by

Steve Sheppard

 

As a European I have been a fan of Darlene’s since around 2006 and an album called Infinite Voice, and as she may remember, I fell totally in love with a track called Atmospheres from her release Tranquil Times, for me it gave me a wonderful insight into her adaptability and skill set. Some 20 years on I now gaze from a literary standpoint myself, and as a musician, and also a music writer, and I get to sonically swim in the release that emphasises the artists life history, the twists and turns of outrageous fortune, the wins and losses, and the beauty of her latest release A Grand Memoir, which is coupled by her book Put Down You Dress And Sing.

Darlene and I have many similarities in our growing years, the extremely strict religious upbringing, the almost shunning of anything creative in our lives, and the willingness of complicity from our parents to hold us by pain and suffering to those ideas of control and manipulation as mentioned in the book. The opening piece on the album I found quite highly artistic and emotional, and whilst there is a certain irony in that, Love and Devotion is one of my favourite tracks from the release, it’s powerful and full of self-expression, an out pouring of emotive tones that increases during the manifestation and concludes so beautifully with a flourish.

However this next piece I found deeply fascinating, almost meditative, a true trip around the scales and a highly floating narrative can be found on the composition called Impressions. There is a beautifully textured reflective and atmospheric tonal vibration that one can find in this piece that is so very soothing. One might assume that a collection of memories rather than a single narrative is being explored here.

The more I listen to this album the more I float back in time myself; Lilac Tears is a great soundtrack with which to do that with. Here lies a tender and melancholy centrepiece, there is a great sadness about this offering than at first meets the eye and my research tells me the artist associates this piece with the father's funeral, for those of you who have never lived in an extremely critical religious household, you should read Darlene’s book and explore the relationship she had with her father, this piece of music says it all, and is one of 10 fine pieces, which are musical companions to a real life story.

Wright's Romanza is next upon us, it is the shortest composition from the album at 3:32, but its contents are absolutely charming and transcendent. The tonal structures of this almost soaring and meditative creation are utterly beautiful; one can float within this piece for hours and simply get lost in an intimate romantic interlude moment, one you would never wish to end.

Our mid-way composition is another wonderfully fluent and meditative opus called Caprice. There is a playful, unconventional energy here that makes this composition very palpable and enjoyable; the roaming piano takes is on a varied journey of ambient hues, textures and atmospheric nuances, and the track has a different harmonic colour from a straightforward major-minor approach.

There are many moving moments in Darlene’s book Put Down Your Dress and Sing, from the many years that roll by, from the relationships gained and learned from, those fun moments of a halcyon time, that will only ever happen once in a life time, but will never be forgotten. For me this next piece takes me to that corner of the universe and is called Jacaranda Joy. The structure is bright, celebratory and lifting in its narrative, and after the more introspective Caprice, this provides a noticeable emotional brightening for the listener.

Le Petit Carrousel is next, which is interesting as my dear friend David Lanz has released a Carousel composition himself, this is more of a whimsical, animated movement type of a manifestation, and most certainly a piece that brings childhood, movement, nostalgia, and playfulness into the album concept.

Deeper in the weave of the album we find Winter In Vienna, this has a creative tonal change to represent the darker months of the year, and does it incredibly well. Koldenhoven on piano is spectacular at getting her message over, how fortunate she stuck to her guns and continued being creative on the piano, and against all odds too as she alludes to in her book Put Down Your Dress and Sing, which is a must read.

Gentle Song does exactly what it says on the can, it creates a wonderfully ambient and meditative moment for the listener to bathe in. As expected this piece is a quiet emotional release, but one that is comforting to listen to, like a warm blanket on a January evening, one can feel almost like a moment of rest and acceptance has been found at the coda.

The final gift from Darlene is called Flying With Kites, there is a beautiful lilt to this that makes it sound almost commercial, and one piece that the melody would work very well as a TV theme. Reference wise this is associated with the church-camp solo at age 8, and more information of this emotional time for the artist can be found in her book that accompanies the album Put Down Your Dress and Sing. Also one must note what a clever juxtaposition of an arrangement this is, as the imagery suggests changes from looking backward to looking upward and outward.

Now I have said it a few times this year, but everyone knows when I say it , it actually means it’s true, not just a platitude gifted as a throw away comment, but in my view A Grand Memoir by Darlene Koldenhoven is without doubt the best work of the artist thus far. Its expression and emotive nuances are by far the most creative and moving music the artist and composer has explored. Let’s not forget Darlene Koldenhoven has a written and audio companion with this work of musical genius called Put Down Your Dress and Sing, and everyone should read it, it’s a journey of a life that has been hard won, a celebration of persistence and creativity against all odds, and many successes, and the reason it is such a very good read is because Darlene keeps it real, no sugar coating, absolutely authentic and should be applauded for it.

Her Eyes (Reimagined) By Michael Regina

 

Her Eyes (Reimagined)

By

Michael Regina

Written by

Steve Sheppard

 

It is so important to be impressed from the very first notes of listening to a new composition, album or single, does it grab your attention, well this one did most certainly. I first came in contact with the music of Michael Regina back in 2018, sadly a few months after the original album from where this track originates from called New Day, but I was incredibly impressed to hear this new carefully crafted composition called Her Eyes (Reimagined). In my view a classy instrumental track indeed.

The beginning is brilliant, the sound of wind and a soft piano purposed start, so gentle and reflective, adding then in the keyboards, and a synth back drop for a calming effect, build and progression, beautifully layering and creating a lush soundscape, and ever onwards this piece would go, similar in style to New Age artists like Timothy Wenzel.

The track would continually build and progress cleverly until the middle stages when a powerful percussive beat joins the fray and manifests something truly dynamic for the listeners to enjoy. There is also a Celtic lilt to this single that is quite palpable and deeply enjoyable as well.

Here we also learn why it’s better to use the term (Reimagined) instead of remastered, the latter is more of a technical term, and what Regina has done here is to bring a whole new level of atmospherics and dynamism to this new project, by manifesting more of a cinematic and soundtrack feel to the arrangement, and in doing so making this a sure fire chart hit in the process for Her Eyes (Reimagined) by Michael Regina.

On The Edge: Contemporary music for Guitar and Piano By On The Edge Duo

 

On The Edge: Contemporary music for Guitar and Piano

 By

On The Edge Duo

Written by

Andy Rogers

We get a lot of music of all kinds sent to us here at One World Music Radio. Once in a while we receive an album that is totally unlike any other – an album that maybe defies all our usual conceptions of musical styles. This album, “On The Edge: Contemporary music for guitar and piano” by On The Edge Duo is one such album.

On The Edge Duo consists of two outstanding classical musicians: Italian pianist Fabio Afrune and guitarist Francesco Di Giandomenico, a talented musician best known for his work with the Spanish/South American music duo the Sator Duo. What makes this album so different to other releases in the Contemporary Classics field is the very little used pairing of Guitar and Piano.

One of the most interesting things about the album is the conscious decision to include only works by living composers. The Duo chose contemporary works from Annette Kruisbrink, William Bland, Adrian Andrei, Stephen Goss & Giorgio Mirto. Four of these recordings are world-premieres and three were written for or dedicated to the duo.

Make no mistake, this is not chocolate box, easy listening, background music like that made by some classical crossover artists, this is music that requests you to stop and listen to it properly. It varies widely in mood from lively almost aggressive to tranquil, quiet and pastoral, often in the same track.

The first piece is “Snippers” by Annette Kruisbrink, a Dutch classical guitarist and composer with over 300 compositions to her name. This receives its world premiere recording here: Snippers is a real shape-shifter to open the album with - a lively opening with an almost flamenco sound gives way to a calm interlude only for the pace to pick up again and drive the piece forwards. The piece continues to move forward with the guitar and piano interacting almost as though each is wanting to take control of the music in various changes of tempo, until at the end when we reach the crescendo, a reflection of the flamenco sound we heard at the start of the piece.

Next is “Kindred Spirits” by William Bland, an American composer primarily known for his piano sonatas, chamber and orchestral music; this is not only another world premiere, it is also dedicated to the Duo. It has 2 distinct sections: Part 1, Dragon, is lively with dynamic block chords shared between the two soloists as they take turns ramping up the musical tension. Part 2, Pastorale, could not be more different to part 1. This is a really lovely piece of music, a rippling piano supplies the perfect backdrop to a beautiful lead guitar line through a piece of music that truly lives up to its name. Pastorale by name, pastoral by nature.

The third piece, “Six danses de Transylvanie” is composed by Romanian composer Adrian Andrei. It has six separate movements, the shortest of which lasts 39 seconds and the longest 1 minute 58, so the whole piece runs for just over 7 minutes. To my ears if you were to substitute a lute for the guitar and harpsichord for the piano it would have the feel of something from the 15th or 16th century in the way the way the pieces are constructed and combined to form a complete cycle. This is just possibly my favourite section of this very intriguing album and once again is a world premiere recording and dedicated to the duo.

The penultimate work, “Intermezzi” is by Stephen Goss, from Wales and consists of six mood pieces or descriptive musical sketches.. Moto Perpetuo, Bagatelle and Ballad are more uptempo with strong forceful playing by the soloists: Nocturne, Serenade and Lament are, as their titles suggest, more calm and quiet in mood, a work of great contrasts, beautifully played by these two virtuoso musicians.

The album ends with “Introduction and Bridge of Lights” by Italian guitarist and composer Giorgio Mirto. This wonderful piece (dedicated to On The Edge Duo) gets its world premiere here. Both soloists are on top form here. It starts with a beautiful tranquil section (the Introduction) before picking up pace for the Bridge of Lights section of the work, a fantastic and fitting end to the album.

This is a difficult album to summarise but for anyone with even a passing interest in contemporary classical music, or even if well played acoustic music is your choice, then this album should be on your radar. It is not by any means an instant or “easy” album. It needs to be heard properly and it repays repeated listening. Yes, it is “On the Edge” but sometimes a trip to the musical edge to try something new brings its rewards. This is truly one of those times.

Mridhangit By Rahul Mukerji

 

Mridhangit

By

Rahul Mukerji

Written by

Steve Sheppard

 

Today I crossed paths with one of the most interesting albums I have come into contact with for decades, as I dive head long and deep into the world of Mridhangit by Rahul Mukerji. This album is the very epitome of crossing genres and probably best viewed thus as guitar-led progressive rock, jazz fusion, Indian classical percussion, and global influenced release, or in short global fusion, regardless this is a masterwork of utter brilliance.

We can drift to and fro with the space time continuum of musical genius too, as at the very start of the album we find the track Mr. Sinister, this so reminds me of old Led Zeppelin when my old friend Hossam Ramzy once performed with them. This is a slow carful start building up into one of the fastest climaxes on a track of this elk I have heard for ages.

The deeper tones of Bheja Fry hit my senses with all the muster of an ocean tide in winter, fierce but all consuming, here Rahul Mukerji makes his guitar literally talk, this is a deeply interesting offering, I could swear I could hear a bell tone in this piece like in the Undertakers theme music in WWE, which added a great overall effect to the piece and perhaps a more playful and restless piece is indeed found here. The title itself is colloquial Hindi, while the music mixes Mukerji's guitar language with bass and tabla.

Another of my personal favourite pieces is the following narrative called Twelve Ganeshas featuring Ruben Rubio on bass in this fluent and fast paced smooth jazz rock styled opus. Praveen Sparsh's mridangam interacts with guitar, drums and bass, creating a strong jazz vibe and a delightful refrain to listen to at any time of the day.

The piano at the very start of this next offering begs to create the inception of a very different composition indeed, a soft mellow start that gets more agitated and powerful as it builds and called Enjoymaddi. So much so that from the 1:30 part, the juxtaposition of the piano and guitar manifests something incredibly artistic and powerful, elements of an upright bass and piano soften the palette, but the overall feel is more like jazz fusion than straight rock. I would rate this as one of the most cogent and complex tracks off the album entirely.

A horse of an entirely different colour can be found on the very globally fused Mridhangit, the fretless bass and the entire instrumentation based manifestation, especially the lush textures of Rahul Krishnam of tablas, if I could pin point one track that speaks for the whole album as the releases main concept it would be this very creation, as it should be being the title track, it is utterly captivating, the vocal style and artistic nuances shown with regard to it, make this a stand out offering.

Kalli Penn is next on our hit list of rock greatness and globally fused brilliance, this one takes me back to 1999 and an album by Santana called Supernatural, that fast fluent guitar based vibe was and is there, and played and performed in a very similar style indeed. This is sublimely groove-oriented and colourful, with keys and percussion supporting the guitar. The instrumentation gives it a distinctly ensemble driven character, but the guitar of Rahul Mukerji flies fast and free just like Santana.

Well into the latter half of the album we can find a piece called Funky Pakora, featuring Emi Romero on keyboards and the amazing Dylan on clarinet; once more the deep keyboard vibe and the funky beat and slap bass of Rafael Freitas make this easily a piece that could land in the world of Jazz funk and indeed reminds me of very late ‘70’s Level 42.

Dushtan once again creates new sounds and territories to cross, bathed in a Zeppelin global style, one can enjoy a truly heavy slice of rock majesty that is incredibly powerful and ethnically influenced, however the tonal structures of the guitar remind me more of that of Richie Blackmore in his Rainbow era. The heavy global influence here makes this easily the fastest tempo piece on the album, its heavier and more dramatic, the violin, keyboards and percussion broaden the guitar-rock foundation of the overall narrative of the track.

The mysterious elements on guitar at the start of the track called Rahu and Ketu give us probably our most rhythmic sounding offering from the release. The driving guitar here elevates it into almost a rock anthem of sorts, then the track pulls back like the tide and allows for another smooth build and progression, a piece at well over six minutes gives the music more room to develop. The title references the Hindu astrological concepts of Rahu and Ketu; percussion becomes especially important here in this fast based treat of plenty.

The penultimate track off the album is the piece Four Seas, the gentle piano start is a delightful sea change for both artist and listener in this more new age beginning, this is a sensual offering and a more spacious fashioned piece, featuring piano and mridangam alongside the guitar, bass and drums as the engine room of the composition.

Mutabor could easily be a film soundtrack it is that good, and what a great way with which to end the album, the build chords on guitar at just over the minute were some of the most emotive I have heard on the release, and in some ways reminds me of essences of middle eastern music I have heard on my travels, the Dudek being the instigator to this climatic slice of multi-instrumental work of genius.

Mridhangit by Rahul Mukerji is without doubt one of the most enjoyable listens I have had for absolutely years, this is also the most original work I have had the good pleasure to immerse myself into, and I applaud everyone and everything entirely on the release. I would urge anyone who loves truly good instrumental music of any flavour to give this a spin, especially if you are a prog fan; you are going to fall in love with it, just like I have today.

Cloud Dance By Chrissie Sheppard

 

 

Cloud Dance

 By

Chrissie Sheppard

Written by

Andy Rogers

Chrissie Sheppard, along with her husband Steve are certainly riding the crest of a musical wave at the moment. Steve’s latest album (the truly excellent “Mansuria, planet of the Gods”) was a collaboration with David De Michele: For her new single “Cloud Dance” Chrissie has also worked with David to produce a single that is not only musically surprising but also that takes her exceptional flute-work to new heights.

Do you remember those warm sunny days when, as a child, you would lay on the grass and watch the clouds, marvelling how they changed shape as they drifted across the sky? This was the inspiration behind “Cloud Dance” and this joyful yet reflective single will transport you back to those times.

The track opens with the sound of wind-chimes and birdsong as Chrissie’s flute draws us in to the garden… some beautiful complimentary keyboards join the mix as the sound becomes fuller and a female voice with more strings appear. The mood alters slightly as the music changes to a minor key with Chrissie’s flute harmonising not only with the keyboard but also, intriguingly, with itself (perhaps double tracked?).

It is at this point the Cloud Dance begins – a gentle rhythm leads us on and into the dance as it gains intensity… A voice once again sings a short refrain as Chrissie’s flute, propelled by the rhythm moves us forward. Eventually the drums fade slowly away and we are left with just Chrissie’s flute, a quiet keyboard line until right at the end we are back where we began with the sound of the wind-chimes.

“Cloud Dance” impressed me greatly – Chrissie Sheppard is taking her music in a new direction and this collaboration with David De Michele is yet another musical step forward for an artist whose music evolves with each new release. An excellent release that deserves to do well.  

Purity By Eric Tingstad

 

Purity

By

Eric Tingstad

Written by

Chrissie Sheppard

 

GRAMMY Award-winning artist Eric Tingstad has returned with his latest single, Purity — a beautifully crafted arrangement centred around themes of childhood innocence. Having followed Tingstad’s storied career for years — from his iconic collaborative albums with Nancy Rumbel to his acclaimed solo works like Southwest and Badlands — I find this latest offering to be an exceptionally versatile and mature addition to his extensive discography.

Purity is a masterclass in acoustic minimalism. While the single’s gentle, fingerstyle delivery may seem effortless on the surface, maintaining a listener’s undivided attention through such a stripped-back arrangement requires a rare level of compositional mastery. It is deceptively difficult to create something this clean yet deeply engaging, a testament to Tingstad's refined skill as a storyteller through the strings of his guitar.

As you listen, the track naturally evokes vivid imagery of a young child at play, sitting quietly without a care in the world. In today's fast-paced environment, the music serves as a poignant, much-needed reminder for all of us to just pause, slow down, and avoid taking the complexities of daily life so seriously.

Purity is a universally accessible, beautiful piece of music that can be enjoyed anytime and anywhere. It is poised to perform exceptionally well on the contemporary instrumental charts, appealing not only to fingerstyle guitar enthusiasts but also to anyone who simply appreciates finely crafted, tranquil music. Highly recommended for long-time fans and casual listeners alike, this track deserves a permanent spot on your playlist.

Helping Hands By Shambhu

 

Helping Hands

By

Shambhu

Written by

Steve Sheppard

 

This inventive new single from Shambhu may at first appear to be a simple easy on the ears piece when first listened to, but within the weave of the narrative it touches many emotions, points to emotive references, and also provides the listener with a backdrop, and reflective nuances, and all in 158 seconds, this crafted new offering is called Helping Hands, something we all need from time to time.

The strum start is as gentle and tender as you can imagine, while the piece unfurls like a petal, 50 seconds in the first major change occurs on a track that features acoustic guitars, bass and Dobro, and this is the first time that he performs on a custom-made Oracle Guitar crafted by master luthier Todd Johnston.

The uplift on that aforementioned mark breeds a moment of deep emotional healing and reflection, whilst constantly moving onward, in the same way and style, that US instrumentalist Holland Phillips used to do back in the day. The picking of notes and constant strum, breed beautiful layers of warmth and tenderness.

Shambhu is one of the finest contemporary instrumentalists of his day, and here on this new single he proves that to be the case with ease, this is one of those singles that once you have listened to it once, you just can’t stop, there is so much to enjoy from its happy refrains and pleasant heart felt tenderness, and what fan of acoustic guitar wouldn’t love to have this brand new single called Helping Hands by Shambhu.

A Sky That Knows Our Names by Terry Lee Nichols

 

A Sky That Knows Our Names

By

Terry Lee Nichols

Written by

Steve Sheppard

 

It seems almost unbelievable that some 10 years ago my musical relationship with Terry Lee Nichols would begin, amazingly so almost exactly to the day when Terry would release his album At Peace Beneath the Shade of My Father's Tree, from then onward our eager ears have been treated to a fantastic array of great historical narratives, and today in 2026 we greet anther new masterpiece of an album called A Sky That Knows Our Names.

This amazing project is a 10 track release of great power, beauty and genius, in his beautifully layered information that comes with the album Nichols quotes one of my many heroes in Carl Sagan, I will to begin this narrative with a quote from him "The nitrogen in our DNA, the calcium in our teeth, the iron in our blood, the carbon in our apple pies were made in the interiors of collapsing stars. We are made of star-stuff” he would also note that "We are a way for the cosmos to know itself."

This for me brings me great comfort that when I die, my passing from this planet will reconstitute into the great green recycling plant in the vast realms called the cosmos.

The level of musical prowess it takes to achieve an album like this is immense, listen to the opening piece for an example, a mesh of rhythm jazz, a percussive delight emphasised in a globally infused manner, with some of the most fluent and attractive vibrant piano from Nichols to boot, there are many other instrumental magicians on this album, all of which will get a mention at the conclusion of this review, but here on The Celestial Traveler, one of the most vibrant starts to an album of all times can be found.

The following musical narrative is deeper and more introspective and called In the Beginning, Light Danced. One should pay homage to one of the most remarkable vocals performances I have heard on an album for decades from Rebekah Eden who with Terry literally take this emotional and powerful composition to heights unfathomable. Perhaps Laurence Kraus summed this up perfectly when he emphatically indorsed Sagan by saying “One of the most poetic facts I know about the universe is that essentially every atom in your body was once inside a star that exploded. We are all, literally, star children, and our bodies made of stardust, if ever a piece of music was destined to be a soundtrack for that truism this is it.

Eden continues her powerful vocal march on this next offering entitled Hadean Fire, in fact even more so, and with ease that I would say this track is transformative and transcendent and emphatically powerful, certainly life changing and deeply moving, it is important to note that the Budapest Art Orchestra bring home the deeply passionate soundtrack and orchestration on this track and the entire album, but here on this piece, the strings alone create a blissful juxtaposition of tone with Nichols piano, one that paints the picture of the beginning of Gaia some 4.54 billion years ago.

This album is literally the history of everything Earth wise, as we near the half way juncture we come across Snowball Earth. One can feel the darkness and the cold descend on and around us, but from ice comes water and from water life, perhaps best expressed by scientist Albert Szent-Györgyi when he said that "Water is life's matter and matrix, mother and medium. There is no life without water." Here Nichols starts the construct with a hovering narrative and manifests one of the most beautiful piano performances to bring the listener one of the most attractive codas to a creation of his ever.

The Dawn of Life is also our half way marker, perhaps as far back as 3.5 billion years ago is the oldest widely accepted fossil evidence of life that appears, including microbial mats called stromatolites. Here is another favourite piece of mine as everything so delicate is brought to life from the pen of Nichols, and one can revel and enjoy the harp also of Hanna Rabe, before a fade and another utterly transcendent piano presentation from Nichols, one that will lift the roof with its supreme fluency and blissful majesty.

The very essence of everything comes from the abundance of Devonian Dusk, it is a wonderful illustration when the earth could have been truly called green, this is another beautiful composition, but for me it emphasises just what a talented and artistic composer Terry Lee Nichols is, the piano of the master here is breathtakingly lush and utterly transformative.

On the next track we have a horse of a different colour entirely called Babel, this is a clever arrangement indeed with its fast paced segments, perhaps illustrating this alleged mythical building being built, the hint of sounds and words forming illustrating the very beginning of words as we know them today, the entire track reminded me of something that Tim Burton might use in one of his movies, but the ethereal soundscapes and pauses were another brilliantly layered ethic, in a truly clever piece indeed.

We draw to the darker waters of the release where we will find a crystalline offering called From Stone We Built the Sky. Nichols piano is the chief story teller here, the core of the piece and of course the album, the multi-instrumental nature of the track allows for a wonderful example of build and progression, and a sublime coda to be weaved within the last few minutes of this remarkable piece.

The penultimate offering from the album has the most amazing vastness of quality to its structure, and called In Grateful Silence. This starts in such a reverential and meditative way, and at the 1:40 minute mark, the piece expands further with the inclusion of a Nichols piano into the most ambient and reflective offering from the album, perhaps illustrating that humans are inclined to assume that events are caused by intentional agents. This tendency can make it natural to infer gods, spirits, or a divine intelligence behind natural phenomena, regardless this has to be easily the best three minutes and 37 seconds I have spent listening recently.

We finish with the concluding narrative of A Sky That Knows Our Names, which of course is the title header of the album; this lush and creative movement is like a dance in energy, perhaps the dance of life itself, this contains a momentary slice of a peaceful reverie, perhaps to take us once again into the mind, and recognise that all that we have learned on a last final and concluding composition, simply amazing.

A Sky That Knows Our Names by Terry Lee Nichols is a landmark album and with ease the artist’s best work thus far, so let’s credit the following musicians for their exemplary work Dave Manington – upright bass, Dan Waldron – English horn, Guadalupe Ravenos – scat vocals, Hanna Rabe – harp solo, Joasia Cieśłak – cello, Katrina Penman – flute, Larry Aberman – drums and percussion, Nick Bisesi – flute solo, Rebekah Eden – vocals, and of course the Budapest Art Orchestra.

This is a release of superior quality and I doubt we will hear the like of something so grand again, A Sky That Knows Our Names by Terry Lee Nichols, is a standout legendary release for the ages that sums existence in 10 specially hand crafts tracks of pure genius, if this doesn’t get to number one, there is something wrong with the reality we live in.