Into The Light By Kimberly Haynes

 

Into The Light

By

Kimberly Haynes

Written by

Steve Sheppard

 

Kimberly Haynes has created something here that sits in that increasingly rare space where music isn't simply entertainment, or even expression, but a form of emotional survival. This is an album born from loss, but crucially, it isn't consumed by loss. Haynes understands something many artists struggle to articulate: grief isn't a destination, it's a landscape you learn to walk through and that distinction gives Into The Light its extraordinary power. For context sake, it’s a landscape I have walked through as well, and it’s a realm where the mists of memory swirl around in an infinite regress, but when all is said and done time becomes your best friend and your ally.

The opening offering reminds me greatly of early Enya, but there is more depth and warmth to the offering, Grant Us Peace immediately establishes the emotional vocabulary. There is no grandstanding here. Haynes sings with the kind of restraint that comes from having lived the words rather than merely written them. The arrangement surrounds her with spacious textures, allowing the vocal to remain the emotional centre. Haynes creates a space where the listener can step away from the noise of everyday life and simply breathe. There is tenderness here, but also a quiet strength, the vocal performance carries an emotional honesty that never needs to shout to be heard.

From the calming references and soothing mantra of the opening offering we move to Narrow Bridge. Note the brilliant trumpet of Jeff Oster here; it immediately adds a completely moving texture to the lyrics from the Baal Shem Tov. There is something wonderfully evocative about this composition, a feeling of taking each step carefully while knowing that the journey itself is part of the destination, as it is with the following piece entitled I Am My Prayer, a piece that contains the voice of her deceased husband Brian, I must admit it took me five listens before I could get through this one, it is easily the most emotional track I have ever heard, and a tip of the hat to the cello & string arrangement by the commanding Hans Christian as well.

At the midway juncture we find the title track of the album and of course I am referring to Into The Light. Please listen to the sheer raw power and sensitivity of the vocals of Haynes in this piece it is extraordinary. There is a wonderful sense of release within the arrangement, a musical opening of the curtains after a long period of darkness. The title becomes more than a phrase; it becomes the destination of the entire journey, it is surely one of the album's defining moments.

A pop classic follows with the legendary The Lion Sleeps Tonight, Haynes gives the piece a fresh emotional identity, and the presence of family within the performance adds another beautiful layer to the story being told, then to one of my personal favourites from the album entitled The Enchantment. There is something about this that reminds me of Lucinda Drayton of Bliss, regardless there is a lush Celtic motif here that is utterly splendid and undeniable.

The penultimate offering from the album is the delicate pastiche of Moola Mantra, featuring the guitars of Vito Gregoli and Bansuri of Manose Singh alongside the Kora of Youssoupha Sidibe. The mantra becomes a pulse, the instrumentation becomes atmosphere, and the whole composition seems to wash over the listener rather than simply play in front of them.

The concluding narrative is entitled Cielito Lindo. There is warmth here, but also a sense of completion. After everything we have travelled through, the questions, the memories, the spirituality, the sadness and the emergence into something brighter, Haynes leaves us with music that feels human, affectionate and deeply alive, and completes one of the most moving and powerful albums in the history of the genre. For me this has to be one that any musical aficionado must have in their collections, and called Into The Light by Kimberly Haynes.

Wings III: Ambient Bliss by 2002

 

Wings III: Ambient Bliss

By

2002

Written by

Steve Sheppard

 

I cannot believe that it was 1992 when I came across my first ever 2002 album, which was of course called Wings, and as a European, New Age music back then was something utterly different from the pop culture surrounding my ears and mind at the time, here was a growing panacea of sound that would change me personally forever, and I have 2002 to thank for that. Some 34 years older, I now have the absolute honour to dive deep into the realm of Wings III: Ambient Bliss, this is without doubt a timeless collection of high quality real music, but more about that throughout this review.

The opening offering is delectable and called Free Spirit. Here is a track that sets the pristine tone for the entire collection. From the very first note, gentle acoustic strums and lush, floating synthesizer pads drift through the air like smoke from an extinguished candle. It is a breath-taking arrangement, masterfully balanced, allowing the listener to instantly unwind and breathe easy. As the melody unfolds, you feel a profound sense of emotional weightlessness taking hold; I personally found this a very profound creation and reminded me of the great work Reiki Hands of Light by Deuter in tone and timbre.

We move seamlessly to our following flowing chapter of musical charm called Quiet Morning. A deeper resonance greets our ears, but one that lulls us into a peaceful repose. It is a peace that manifests such an immense level of tranquillity that few contemporary artists could ever hope to match it. The tones glide over a bed of textured orchestration that feels like watching the first light of dawn gently break over snow-capped mountains. It moves slowly and carefully, allowing the listener to settle into a deep, meditative state, this is how a real human manifests truly great ambient music, AI software not required, thank you.

A higher elevation of timbre greets our senses with the composition called City Rain. But here is also a track that is so sweeping, easy and calm, that if one listens to this with utter honesty they won’t fail to be moved. There is a wonderful, visual narrative running through this particular piece. 2002 creates an echoing softness that beautifully replicates the gentle patter of a soothing rainfall. The subtle chord changes float back and forth so effortlessly that time itself becomes entirely irrelevant. I kid you not; the emotional resonance embedded within these keys is utterly glorious.

On Taking Flight we can float on a bed of musical clouds, at first it seems to be a dramatic prose taking effect, but the sweeping and floating genius here by 2002 as a band is blissful, in the same way Kevin Kendle did with his Clouds album back in the day. This track represents a monumental moment on the album where the music truly begins to soar. The melodic layers build into a beautifully realized, anthemic structure, driven forward by a heartfelt performance on the strings and keyboards. It speaks to a deep, universal longing inside every one of us to rise above our daily challenges. Simply outstanding!

The midway point of the release is reached and called Shimmering Path. A more questioning and explorative path can be felt here, on this quality ambient offering, floating keyboards and synths offer up much to be enjoyed. Here we find a delicious palate of tones and vibrations bathed in a memory-filled tapestry of serenity. The pristine notes float effortlessly in the pastiche of an incredibly colourful composition. There is an almost cinematic style piece here that feels like a stranger walking through a misty, enchanted forest at night. It is cathartic, peaceful, and beautifully delivered.

We step tenderly into the pathway of the latter half of the album and we are thus greeted by the track The Clearing. The ambience here feels nature filled, one can visualise the old hedgerows of a distant age emerge from the mist manifested shadows of an early morning sunrise. The arrangement dials back into a space of absolute acoustic bliss. The interplay between the instruments is minimal but incredibly powerful, proving that simplicity is often an artist's greatest strength. It provides a singular breath to recalibrate the soul before moving deeper into the recording.

Once more, pay notice to the pitch of the start of each track, each is carefully curated to bring the maximum of peace and contentment, and on the creation The In Between World that lush green texture continues. It creates a floating, peace-filled vibration that bridges the gap between our physical reality and the mystical energies of another realm. It is visionary music at its finest and an album manifested into reality by thinking cogent minds, not artificial, and truly emotive with every single note played.

Weightless sits at that deeper point of this river of music, its ethereal aspects speaks with the volume of a caress and a loving hug of a treasured individual. The ambient architecture of this piece does exactly what the title promises. The gentle, repeating motifs act as a balm for the spirit, effectively detaching the listener from the gravity of modern life. You could quite easily leave this single piece on repeat for hours on end and not even notice the time pass you by or care either, and that is one of the most vital parts about really brilliantly constructed ambient music made by humans that people fail to understand, it’s the journey to be enjoyed, not the algorithm to be chased.

The moving depth within the penultimate track entitled Faraway Memory is an utter delight, slight surges in tonal energy can be felt, soothing synths build upon a bed of natural ambient energy and something truly evocative is born. Here one can find a deeply reflective offering that strikes a powerful chord in the heart. The melody encourages us to look backward into the pastiche of our own lives, conjuring thoughts of dear friends and distant summer memories. The emotional depth that the Copus family can manifest out of thin air is a timeless reverence to be celebrated and is done so brilliantly, not only on this track, but on the entire album itself.

The final conclusion to the album and the wings project is now upon us, and called Wings of Light. What an utterly transcendent manifestation to end the album and the series, ambience personified. We close this extraordinary trilogy with a luminous, overarching masterpiece. The overlay of pristine chords and heavenly orchestration leaves the listener feeling much stronger and open-hearted than when the journey began. It brings the entire Wings saga to a triumphant, peaceful conclusion. Without a doubt, this is a must-purchase album for the entire world.

When all is said and done, Wings III: Ambient Bliss by 2002 is nothing short of a staggering achievement. In an era where the music industry is all too often dominated by artificiality, the Copus family have given the world a pure, human-made sanctuary of the very highest order.

This album does not merely serve as the closing chapter of a legendary, decades-spanning trilogy; it stands independently as a masterclass in modern New Age serenity. From the buoyant, freeing notes of the opening track to the luminous, celestial tapestry of its grand finale, the Copus family has crafted a seamlessly flowing, ten-track odyssey that effortlessly washes away the heavy armour of the modern day, and the utter junk created by talentless individuals seeking an easy ride in this wave of AI deep fakes.

The production is pristine, the emotional resonance is profoundly deep, and the absolute peace it manifests within the listener's heart is a rare and precious gift. I kid you not; this is an essential, must-own release for the entire world, and a timeless example of instrumental music at its absolute finest. It is an absolute triumph that must not be missed under any circumstances!

There is More to the Story By Craigology

 

There is More to the Story

By

Craigology

Written by

Steve Sheppard

 

It is fantastic to hear the king of musical vibrancy back on the scene and this time with a brand new EP called There is More to the Story. It contains three previously released pieces and one I had not heard of before, so let’s take a deep dive into this compilation and pay homage to the master of soulful smooth funk and chill Craigology.

Working Things Out Craigology (World Beat Groove) starts our journey of taste and textures, this was released early on this year and is a complex yet lively composition with some of the artists trademark keyboard skills melded into a mixture of added instrumentation, and a floating segment at the 2:20 minute mark that reminded me greatly of old style Level 42 from the 1980’s

We now move to the piece Attractive (World Beat Groove), again a release in 2026 and a particular favourite of mine. The prolonged and explorative keyboard work here is something to marvel at from the opening moments, there is an easy confidence to the track. The groove settles naturally into place, creating a relaxed but unmistakable rhythmic pulse. Craigology understands that a world beat track doesn't need to overwhelm the listener with complexity; sometimes the greatest strength is allowing the rhythm to breathe.

Then deeper into the realm of There is More to the Story (World Beat Groove), here is a classy and sexy offering with a perfect sultry rhythm. There is something wonderfully understated about the way Craigology approaches the music here. Rather than throwing everything at the listener from the outset, the track allows its rhythmic character to unfold naturally. The world beat influence gives the piece a gentle sense of travel, while the smooth-jazz foundation keeps the whole journey relaxed and inviting. It is music with movement, but not movement in a hurry, one must also take their time when listening to the coda, and it’s unexpected but dramatically inspiring completion.

Zoology (World Beat Groove) concludes our journey with Craigology, a fine and smart way to finish the release with colours, textures and a vibrant musical image in a tapestry of tone and splendour. The world beat foundation gives the track its pulse, while the experimental jazz-house influence introduces another dimension altogether. The result is a fascinating meeting of organic rhythmic energy and contemporary electronic sensibility and that title suddenly begins to make sense.

Class, class and more class, what an amazing release from the king of smooth jazz and now world beats in, Craigology. This is an EP that rewards simply settling into the groove and allowing the music to unfold at its own pace. It doesn't need to shout. Its appeal comes from atmosphere, rhythm, texture and the sense that something interesting is happening beneath the surface. Craigology has taken the smooth and given it room to travel. World beat supplies the journey, jazz supplies the soul, and the groove supplies the compass. This one if destined for the upper echelons of the charts with utter ease.

Varuvaaiy By Devan Ekambaram

 

Varuvaaiy

By

Devan Ekambaram

Written by

Steve Sheppard

 

It’s been great to hear from Devan Ekambaram again, until now it had been some four years since the amazing Brindavan album in 2022. Here Devan is back with a vibrant new single, and one containing the talents of singer Susha. This is one of those singles that heard once, is very easy to leave on repeat for a second time.

After a little research “Varuvaaiy” is essentially a spiritual, yearning song. The title “Varuvaaiy” means something like “Will you come?”  “Please come”—an emotionally charged invitation to Lord Krishna, who the singer longs for. The opening part is almost ethereal in its perception; the hovering keyboard and percussion add multiple layers of colours and textures, all of which are incredibly compelling.

Pay close attention to the combination of instrumentation and the production, of which it’s a veritable collection of classy segments weaved into a globally fused masterpiece. The balance of the vocals and musical prowess is utterly brilliant, superbly produced and engineered to a very high level.

The vocal line has a long, lyrical contour rather than lots of short pop phrases. You'll notice phrases that stretch upward and then resolve downward. That creates the feeling of yearning, and that's musically appropriate for Varuvaaiy, the melody itself feels like it's reaching toward something, and that something is going to be a very credible chart position with utter ease for Varuvaaiy by Devan Ekambaram.

A Matter of Time: Perseverancia By Shelby Lock ft. Venezuela Strings Recording Ensemble

 

A Matter of Time: Perseverancia

By

Shelby Lock ft. Venezuela Strings Recording Ensemble

Written by

Steve Sheppard

 

This is an incredibly powerful and moving offering by Shelby Lock; it highlights for me the sheer passion we can find through adversity. Here the musican teams up with the Venezuela Strings Recording Ensemble and ushers forth a transcendent offering that is a delight to listen to and bathe sonically within.

Shelby Lock is a wonderful composer, listening to this track reminds me of many occasions when I feel my life has been suspended in time, usually right before reality hits you square on the jaw, but this slice of majestic piano meets strings, offers something musically sublime and more, it gives the piano an unusual significance: it isn't just the lead instrument, it is effectively Lock's own voice. The strings then surround that voice rather than replacing it. That's why the arrangement can feel like it is gradually lifting the piano rather than simply accompanying it.

The depth is there, the strings hover with expectancy, but the narrator, Lock’s piano, is the chief commander and navigator, ushering in moment of classical brilliance.

There is a sense of someone thinking rather than making a grand declaration, as the strings enlarge the world around the piano. What began as one person's experience becomes something broader in an opus that is one of the ostentatious and most powerful pianos with strings compositions I have heard in this genre for decades, and deserves to be a massive hit for Shelby Lock and her latest single A Matter of Time: Perseverancia.

Average of the Average

Average of the Average

By

Mike Hans STEFFL

Written by

Steve Sheppard

 

I still have fond memories of my first Mike Hans STEFFL album Calaboose Islands back in 2023; his style of electronic music resonates with me and through each and every track he has shared with me over the subsequent years, Mikes music has and still does grow on me each and every day. Now we have a new album to dive head long into, this project is called Average of the Average, celebrating the fact that it is ok to be average, especially in a world driven by an ever increasing demand for perfection and faultlessness.

Average of the Average is a 7 track electronic music album of exceptional quality, with a beautiful mixture of electronica, ambience and Berlin school all in the mix. Tracks like the opening piece called Repeated Irrevalence set the scene brilliantly with sweeping synths establishing a deeply powerful narrative from the off. STEFFL uses earthy clusters, overtones, organ-like sounds and electronic waves to create a kind of enclosed sonic space in a very impressive almost dark dream like opus.

The Berlin style is brought into full focus on pieces like Middle of Nowhere, after recognizing your dissatisfaction in “repeated irrelevance,” you reach the point where you don't know where you're going, which is beautifully emphasised in this arrangement and then onto Sequenced Arpverage, “ARP” points toward an arpeggiator, while “average” is embedded directly into the word. So the title essentially turns the idea of average into a piece of sequencing machinery, a very clever composition indeed.

One of my personal favourites as this next utterly transcending opus called Gaussian Dreams. Here lays a delicate pristine start, delicate chimes are added to by a gentle bass line and a slow progression of electronic notes, this reminded me in parts of another electronic musican in Thom Brennan.

Invisible Limits starts with a feeling of the mystical hovering in the back but centre of the piece, the synths manifest a swirling sense of wonder and appreciation in this long form narrative of over 13 minutes. After realizing that “average” might be acceptable, the next question becomes what actually prevents me from accepting it. This beautifully curated long form composition is exploratory and vast in its build and progression, but for its entirety holds the overall framing of ambience well within its musical walls.

The penultimate offering is Slanted Average; this track is almost like a clarion call to the masses. The synths here are powerful and fluent; they suggest a difference of perception, and once again allowing ambience and more heavily electronic vibrancy to coalesce with utter ease, perhaps the statement here is one of stop treating deviation from perfection as evidence that you are defective.

The concluding tale to be told is Standard Deviation and is another delicious long form arrangement, one that has a softer more inquisitorial beginning, in statistics, standard deviation measures how far observations tend to spread from the average, which makes this last composition from this quite outstanding album even more special, as the vastness of the pieces seems to create its own awareness and explore its own narrative quizzically as it goes, in style reminding me of experimental musical in the electronic field of Hanslik and Moinz.

Average of the Average by Mike Hans STEFFL is a thoroughly enjoyable listen, especially if you are a fan of electronic music like me, the artist lays seven canvases down to paint on musically and achieves his goal with aplomb, with performances that range from the sublime to the exploratory. Perhaps Mike Hans STEFFL’s Average of the Average can be understood as a meditation on mediocrity, individuality, acceptance, and the pressure to be exceptional, and thus creates a reality where averageness is enough.

Soul Sanctuary EP BY Antonija Pacek

 

Soul Sanctuary EP

BY

Antonija Pacek

Written by

Steve Sheppard

 

Antonija Pacek has a brand new EP out, and this cornucopia of piano delights is entitled Soul Sanctuary. Antonija has been on my musical radar for a couple of years now and in that time her piano has spawned a whole range of musical goodies, but here on this brand new release we may have seen her most fluent work as of yet.

The opening track from the release is called After All, Summer. A sprightly offering, this is the perfect summer solo piano soundtrack for that season, combing elements of a  joyful, warm, nostalgic, light, and quietly celebratory  moods. I do find the title interesting suggesting, perhaps remembering, what summer gives us after everything else has happened; there is a pleasurable feel within a processional narrative, which melts into a soft oasis of calm in the latter half of the composition.

Dew Droplets is a slower more reflective arrangement that I absolutely adore, the cascading notes are a delight to be a part of, akin to early autumn leaves dropping onto to the pianos keys in September. This piece turns the listener's attention inward and downward and into the heart space, and does so in a classic new age piano style that is beautifully played by the artist, this is so fluent and lush, it’s like the piece doesn't try to overwhelm you, it simply asks you to pay attention.

So finally to the shortest track from the release at just over two and a half minutes in duration and called To My Friends. There is something about this offering that encapsulates a family moment; it doesn't feel like a dramatic declaration of friendship, rather, it feels like a quiet musical dedication, her performance on this concluding tale is warm and beautifully played and performed, that our inner peace can perhaps be connected to the people who make us feel that we belong, in a very inspiring last arrangement from the composer.

Soul Sanctuary EP by Antonija Pacek was a thoroughly enjoyable voyage of solo piano; I found the expression and her emotional progression on all three pieces, apart from being incredibly artistic, made her music stand out, stronger that many other solo piano pieces I have heard for the last 5 years. This is why I feel strongly that Soul Sanctuary EP by Antonija Pacek will be a pleasurable success for the artist and the legions of solo piano fans across the globe.

Behind the Hills By Bernward Koch

 

Behind the Hills

By

Bernward Koch

Written by

Steve Sheppard

 

I have long been a fan of German born composer Bernward Koch, there is something so very calming and enjoyable about listening to his albums, and over the years I have amassed quite a few, my first being back in 2005 called Walking Through Clouds, that for me would set the tone for the next 21 years of piano magic from the composer, for me personally making Bernward a go to creator of new age piano relaxing music, however we are gracefully back to celebrate another milestone in his illustrious career, by taking an in-depth look at his latest album Behind The Hills.

The opening piece called On and On is a fine example of the entire voyage with a Bernward Koch album, the track itself has such a steady progression and with its multi-instrumental feel, it’s like you actually slow down, the outside world becomes quiet and one can feel totally immersed in the composition with utter ease.

Piano at Night has that gentle refrain that can be found constantly throughout the composers albums over the years, but for me there is also a powerful uplift that could go unnoticed, one that plays harmoniously with the melody in an almost soundtrack like narrative, and would be one of my favourite pieces from the release.

On this next piece I am gifted a song that reminds me of Alice’s journey through the garden of living flowers, this utter gem is entitled Sleeping Flowers. The serenity of this track is amazing in all its somnambulant tenderness. One can feel time passing through the artists gentle piano performance one that reminded me greatly of Mike Roland back in the 80’s and 90’s.

The title track comes up next and of course is called Behind the Hills. This is another moving offering and a fine example of a truly great title header, a sense of discovery and a little mystery are manifested by the piano and flute combination, in classic Bernward Koch style. This is soon followed by the anthem like tones of Beautiful View, light percussive elements and a soothing symphonic vibration can be found here, this is a truly beautiful and lush landscape of music that needs to be appreciated, note the soaring flute here as well. 

We now find our way to the middle point of the release and a brilliant offering called An Old Castle. Note the atmospheric start here; this is utterly transcendent and quite haunting in its collective energy, again this would be another personal favourite of mine, almost Tim Burton in context, with the flute and piano gracefully dancing with each other in a mystical movement perhaps.

This for me is one of Bernward’s deeper releases; however we gain a little respite with the piece called In the Forest, a steady onward progression with elements of the classical and that breath-taking flute can be found here. The construct here ushers forth a return to nature and a deeper sense of being surrounded by the landscape. It functions almost like stepping farther into the album's imaginary world ahead.

Inner Treasure is an interesting offering, the beginning has an almost processional feel to its overall narrative, and then from its hymn like structure manifests into a more tender composition, again little classical styled motifs similar to a pavane can be found here on a charming tale told so beautifully by the artist.

The mood deepens once again with the next track entitled Timeless Memory. As one would indeed expect a reflective offering that creates a safe sanctuary with which to listen from is found. Could this be the most contemplative offering from the album, maybe so? There is also an intriguing Baroque energy here that could hint at a historical narrative, and an element of ambience one now finds in the long form academia pieces these days.

The delicacy of this next offering is palpable and enticing and almost pristine in its performance and called The Linden Tree, which has strong cultural associations with home, village life and memory perhaps, there is indeed a wistful tone here that drifts past like an errant cloud of an early autumn afternoon in October that is a delightful and textured pleasure.

Nordic Hills is our penultimate offering and what a delicious sample it is to enjoy. This is a proud offering with cinematic gestures. The landscape becomes larger and more majestic. More layers and momentum give this track a broader, almost movie styled feel. The natural fluency here mixed with the pristine quality of performance brings forth another marvellous composition for us to all enjoy and bathe within.

The concluding tale is called Windy Weather. This is a timely piece as we are soon to be entering autumn, but the unusual usage of drums on this offering gave the overall narrative more depth, and for some reason reminded me a lot in melodic structure to the works of artists like Kerani. Regardless this was a beautiful way with which to end the album.

Behind the Hills by Bernward Koch is in my view one of his finest works that I have had the pleasure to listen to for ages from the artist, in fact I would go as far to say the entire experience was warm, pastoral, contemplative, cinematic and simply delightful, it is as if Koch is taking us all on a voyage throughout the entire album rather than a manifestation of a tracks by track narrative, which in my view should create a massive chart hit for the album and possibly award worthy to.

Dog Eared Days By James Filkins

 

Dog Eared Days

By

James Filkins

Written by

Steve Sheppard

 

I still remember fondly my first album from the artist, Cranes in the Moonlight released back in 2023, after a few hit singles before that, and I remember being impressed by its acoustic contents, here just three years later James Filkins has marched on relentless and in my view produced his best work yet on his latest release called Dog Eared Days. This 13 track vast body of acoustic guitar work with added instrumentation is a wondrous step forwards for the musician.

The journey begins with the melodic and memorable A Place In the Sun ft. Stephen Wake, who actually takes the lead on this reflective but upbeat opening offering, and the dualistic symbiosis of both guitars creates a deeply felt energy for the listener to enjoy.

On Gratitude we have a more spacious offering, this one I really liked as it gave the listener room to breathe and wander within its realms, at times it also retained a slight minimalistic feel, but one that floated with the cadence of the day, and is a fine example of really a good acoustic guitar performance.

We can drift into the arms of our next composition called House Cleaning ft Sav Madigan & Katie Larson, this is one of the most beautiful pieces from the release. The violin of Madigan brings to the table a mournful repose whilst the cello of Larson doubly so, this incredible arrangement of three different stringed instruments gifts the listener something truly blissful to swim within.

Cat Head Bay ft. Zak Leger is up next, this is a more light hearted reverie, one that reminds me of another us guitarist in the US called Chris Haugen, back to the track, Leger on the interesting combination of whistle and accordion, adds a special and unique flavour to the overall narrative of the composition, one that manifests a little Celtic feel within the weave of the creation as well.

We can peak now at Gravity and Intertia, this is an inventive Filkins, slapping the wires and adding pertinent harmonics, something I used to love to do, this stylish solo effort is both exploratory and fun, whilst Dog Eared Days ft. Michael Manring is a bitter sweet melody for me, having been a former dog owner until December of ‘25, but including Manring on Fretless bass to Filkins spacious and loving guitar, I felt quite was cathartic and healing for those of us that have lost a four legged family member.

However one of my favourite’s tracks from the album was the light and sun kissed reverie of Rose and Hummingbird ft. Luis Vilca & Jeff Haynes, which I believe was the last single from the artist as well, the beautiful fingerstyle guitar, with added flute of Luis Vilca, and the delicate percussion of Jeff Haynes manifested both a memorable and a very addictive melodic offering indeed.

One step into the latter half of the album and we will find Purpose, a solo effort from the artist that has a little extra depth and grace, one that shows a great example of both chords, lower string usage and tone, then on Leelanau Lullaby ft. Christina Karakos, Sav Madigan & Katie Larson, we can add the skill set of the viola of Karakos into the weave, so we now have four different stringed instruments building upon each other for one of the most technically brilliant arrangements off the album.

Time for another slice of acoustic magic from Filkins with the creation Joie De Vivre, a charming song written with a lot of tenderness and love, which if my French stands the test of time means joy of living! This is the shortest piece off the release, but one of the sweetest, which allows us to transition to the offering Witch Hazel, a more folk based narrative, with some quite crisp finger picking, and a sensitive overall refrain.

The penultimate creation is entitled Cardinal Serenade ft. Alice Roberts, here the harp of Roberts doesn’t just add an extra layer to the compositional structure of the track, but manifests a lush juxtaposition of tone and timbre light and dark, shadow and sun, in one of the most artistic tracks on the album, and another personal favourite of mine.

We conclude our journey with James with this last arrangement called Arboreal Glen, again that Celtic lilt is added by Aaron Dolan on the whistle in a fine parting gift from the composer, reminding me of the music of Bill Wren and Frank Ralls from back in the day, but regardless a brilliant ending to a sublime release.

Now you have probably heard this before by other writers, but I am far from being disingenuous when I state that Dog Eared Days by James Filkins is the best work thus far by the artist, in fact I am one of the few music writers around, that you know when I say this, I actually mean it, this  album is a real treat to listen to, one could leave it on repeat and simply just enjoy it over and again, this is why I believe that the care and attention to detail that the artist has put into his work on this album will achieve rewards, and I am sure a pretty good chart position for Dog Eared Days by James Filkins as well.

Heart of the Party By David Arkenstone

 

Heart of the Party

By

David Arkenstone

Written by

Steve Sheppard

 

This is a remarkable work under any guise or reference point, I have known of David Arkenstone and his music for decades and it never ceases to amaze me when he gifts us some of the most emphatic and outstanding film score soundtracks that he comes up with, these are moments of utter genius, that require an amazing ear and an even more stunning mind.

Here on Heart of the Party, which is performed by the Northwest Sinfonia, he gives us a couple of minutes of thematic and cinematic joy, within a fantasy soundtrack, one that suggests a musical change of perspective: rather than danger, combat, or mystery, the music evokes companionship, celebration, warmth, and communal energy, and it is done with such ease and great style.

For this type of soundtrack cue, the goal is generally not to develop a long sonata-like argument. Instead, the music needs to establish an atmosphere quickly, and that is exactly what David has done here with ease. This of course is a track from the album Dungeons & Dragons: Dungeon Masters Official Soundtrack, it’s a hair raising, inspirational moment of happiness and companionship before or after battle, totally classic and undeniable mastery can be found here.

Symphony Infinitum By Phillip Kanakis

 

Symphony Infinitum

By

Phillip Kanakis

Written by

Steve Sheppard

 

The soft pastiche of a piano based album with a plethora of added instrumentation came my way today in the guise of Symphony Infinitum by Phillip Kanakis. This wondrous moment of sonic exploration filled the start of my day with hope and cheer, as we wend our way through a personal 30 year journey for the artist, and a work that contains the mastery of The City of Prague Philharmonic Orchestra and Choir as well.

The album itself is a 10 track opus of grandeur, a powerful and moving collection of touching works, like the opening offering entitled Symphony Infinitum Intro. The steady onward procession of this piece is most appealing; it establishes the scale and atmosphere: something expansive, timeless and almost cosmic.

Short form narratives are here as well including the following piece called Epic Journey. This informative musical tale explains the weave of the theme as we possibly begin leaving the familiar, encountering challenges, and pursuing something larger, elements of Philip Glass can be found within the weave of this manifestation. Then onto the thoughtful musical prose of Reflection, the accompanying percussion and drums were particularly effective here, in a track that when meshed with the strings, was a real team effort, and a classy cinematic opus in structure.

Sweet Moments is a soft and tender tonal delight and certainly the most intimate offering thus far. There is a focused shift toward simple experiences that make life meaningful and simple; this is followed though by the powerful and rock styled ethic of Seven Rings, the full flowing choir here was truly inspiring to listen to, and brought chills to the arms and neck, the electric guitar also in its War of the Worlds Style was enticing; this would turn out to be one of my personal favourites from the entire release.

The midway juncture is reached, and with a classical tradition, drawing on Beethoven's Moonlight Sonata. But rather than simply presenting Beethoven's work, the title "Essence of Moonlight" suggests extracting its emotional core, and in doing so, placing it inside Kanakis's broader cinematic-orchestral universe.

108 Overture is a wonderfully uplifting composition that I personally found quite chilled, and containing an almost drifting narrative. Until I researched I must admit to not knowing this, which the number 108 carries significant symbolic importance’s in several Eastern spiritual traditions. Here the artist manifests something deeply personal, but the tone of the aforementioned creation is anthem like in its energies.

When we reach the more cinematic opus of Infinity we are gifted a real treat, a flowing classical arrangement with piano that reminds me of the works of Michael Hoppe. After the journey, reflection and spiritual symbolism, the music arrives at something much larger than the individual, this is a grand sweeping gesture of a creation that is much appreciated.

The penultimate offering is entitled For What Words Cannot Say, to me Kanakis is in his element on this offering, a constant piano progression and narration can be found here that is utterly incredibly and thoroughly enjoyable, there is a depth here that is also palpable, as if it is bringing the enormous cosmic ideas back to something deeply human, in its musical cycle.

The concluding arrangement is Hymn to the World, if ever you wanted to go out with something amazingly powerful this would be the very track I would point to, its majesty and grace would finish any movie perfectly.

Symphony Infinitum by Phillip Kanakis is a classy collection of creative choices and compositions, perhaps in summing up it would be wise to think of this album as a whole entity, rather than individual tracks, and that the experience could very well be a cinematic meditation on existence. Regardless this is a stunning release and, and it should do incredibly well in the charts for Symphony Infinitum by Phillip Kanakis.

Ledges Road By Carbe and Durand

 

Ledges Road

By

Carbe and Durand

Written by

Steve Sheppard

 

Ledges Road belongs to the musical world that Carbé and Durand developed through their work with Incendio, one of my all-time favourite bands from the start of the century and to this day. This track originally comes from their Album Seduction released in 2006 and is a live piece.

The two-guitar interaction is strong in this one with the lead and harmony playing a dualistic theme, a memorable offering is thus created, the lead in fact is the voice of the track and operates a reflective arrangement, akin to returning to an old location from your childhood and the rush of memories that have long since died, come floating past to say hello before they once again float out into the ether and are gone forever.

Liza Carbe and JP Durand are prolific writers, composers and performers, and on this new single perhaps they have manifested one of the most memory tinged and moody pieces of all time, not exactly sad as such, but deeply reflective and time worn.

The careful and fluent performance from both artists is as good as ever, and I am pretty certain that when it comes to chart placements Ledges Road by Carbe and Durand is going to be one very huge hit, it has a certain cadence about it that is undeniable. From the duo of Latin and acoustic guitar mastery Ledges Road will no doubt become one of those pieces that you can just never get out of your head, and will stay in-residence for ages.

Eremitism By Dreamscapist

 

Eremitism

By

Dreamscapist

Written by

Steve Sheppard

 

There are some subjects that are simply perfect for the realm of ambient music and Eremitism is most certainly one of them. Eremitism is the practice or condition of living in total or partial seclusion as a hermit, usually for religious or spiritual reflection, but also for deep personal reflection, however I would argue and postulate that literally anyone can do this, and further reference the fact that many of us also do this sometimes whilst in a relationship, especially if that relationship is so void of feeling and emotion that one can literally feel the loneliness of a hermit like existence, and that life style can then be extremely attractive to be a part of.

Here Dreamscapist provides us with an entire album based on the subject matter, and in my view encapsulates the very feelings of the aforementioned subject in a stunningly graphic and deeply moving way. The release is just 6 tracks in duration, but all are delicious long form opuses, and each one has the ability to be the watcher, the sentinel of observance, as each offering dissolves into the ebb and flow of life and washes over the senses like a calming early morning misty ocean tide.

The opening creation is a delicious meandering stream of keyboard tonal structures that floats akin to an errant cloud across the sky on an August afternoon in late summer. The Choice Now Chosen is our reference point, our beginning, that wonderful moment when one decides that this is the life style that the mind craves for, silence and simple observation. The calmness of the synths and keyboards, and moreover the consistency of the artists performance here is timeless and deeply cathartic, and something I can truly relate to.

And Now It All Begins is our first step on the road of our journey of Eremitism; this has an even more tender and careful tone to its construct, one can feel the first few moments of a day beginning in the world of the Hermit. Musically and in the context of the arrangement, this is where the erratic, shifting synth layers typically smooth out into the vast, sweeping, cinematic drones that define the heart of the album, The "reluctance" of the mind drops away, and the actual journey into deep isolation and spiritual reflection takes over. The performance here is suspenseful; we’re not taking of a total void of oration and sound, but a stillness of mental perambulations.

However this next piece is the most important off the release, it’s that point when the mind kicks in and begins to question. As humans we are naturally social animals and on The Reluctant Mind we see the first elements of doubt and hesitation begin to manifest. It acts as the thematic turning point of the album, utilizing shifting synth pads to depict the internal friction, hesitation, and mental doubt of entering total isolation.

A Glimmer Of Hope is our next step forward, there is a more meditative energy about this next piece, and garners a similar energy when one has started to get used to a certain change in their lives. The keyboard structures are light and airy and contain slithers of tender hope. The overall narrative for me would be one of a delicate calm settling in and an awareness of an inner peace gently growing. This piece perhaps represents the spiritual breakthrough. It captures the sense of finding peace, light, and clarity within isolation, where one could possibly say we have found comfort in our own circumstance, and found that most hallowed and cherished mythical land of balance and harmony.

There is a point when one feels that sense of comfort, the solitude of the moment can be a great healing journey to discover, this has happened several times to me in my life, once in England when I sat on the side of a hill on the Isle of Wight for many hours, lost in my own thoughts, but feeling the comfort of solitude and oneness, my only regret was that I had to leave and return to an unhappy life. I write this because this piece from Dreamscapist illustrates that mood perfectly; I believe that at that time I was Closer To The Self than I had ever been. This moving creation is an almost dreamlike narrative that allows the world to spin around us without hindrance; we have at last become the observer and that feeling, however fleeting, is one of the most wonderful halcyon moments we might ever touch, indeed perhaps even liberation from suffering. Closer To The Self functions as the actual destination of the journey. It explores the psychological reward of eremitism: strips away external noise to arrive at unfiltered self-awareness and inner peace.

The concluding narrative is called Hope Rests Here; one can feel a sense of freedom float within the tonal delights of this track. There is a hovering intensity that is charming and illuminating and cathartic. This is the final moment of letting go of the self and becoming part of the cosmos, when separation from a peaceful existence is simply no longer a reality. The tempo and melodic movements slow down to near-immobility, creating an anchor of peace. It gives the listener room to breathe and completely decompress. The skillset of Dreamscapist to manifest such a soothing final manifestation to literally celebrate one of the most ambient albums I have heard since Eno’s Neroli (Thinking Music Part IV) is a remarkable achievement.

Eremitism by Dreamscapist is worth taking a deep dive into, it is an album one can put on repeat and just be with for hours and hours and still enjoy every single nuance of brilliance. In my view one of the seminal and inspiring works of ambient music this century, I rate it that highly, surely if there is any justice in the world, awards and a very high chart placement will surely follow for Eremitism by Dreamscapist.

Soft and Clear By Forrest Smithson

 

Soft and Clear

By

Forrest Smithson

Written by

Steve Sheppard

 

I have been a fan of the work of Forrest Smithson for a very long time now; in fact we can go back to the year of the start of this very radio station One World Music Radio in 2013 for our first musical encounter, and his brilliant Dreamtime release. Over a decade later, it is my privilege to get to listen to and review his latest masterwork entitled Soft and Clear; this would be one of the most illuminating and artistic endeavours I have taken on musically for many a year.

As an electronic and ambient musician myself, I have a real appreciation for this release, I have spent most of Monday morning listening to it play on repeat for hours, what a sublime experience! At the Soft Edge of Awareness is where our journey begins, a tender and delicate start eventually morphs into a voyage of a more electronic nature, after all this is long form creation at its very best, and with the opener being well over 15 minutes long we can enjoy, adjust and embrace, this flowing and fluent manifestation with a calmness of perspective.

The following narrative is called The Cloud Gazer, there is a tender change here that occurs, one can feel the shift into a more ethereal and floating composition. The softness of palette is still there, just raised on a bed of high tonal delight, to emphasises the location of the arrangement and the somewhat moving tones that flow from the artists amazing keyboard and synth structures, one has to have a very keen ear when listening to your own music and every second of this specific piece is perfectly choreographed into a work of art that is to ambient music, what Brian Eno was back in the day with releases akin to the album Thursday Afternoon in ‘85.

The album itself is an amazing 5 track masterpiece of a long form extravaganza with offerings like the At the Clear Center of Perception at the very epicentre of its ambient roots, the early chimes, the pristine and clear synths, the darker edges at around the five minutes of this truly spectacular offering is an example of ambient music at its very best, we can partner that up with the most moving of all tracks from the album entitled Dreamstate. A soft and soothing timbre that floats between the inner dimensions of the mind, and appears every so often to remind the listener of their humble and calming journey, this is a smart composition and easily one that Smithson should be proud of.

The concluding offering is called Designers, it is interesting to note that the album started with the natural sound of water and ends the same way; a delicious long form opus of over 10 minutes manifests a graceful conclusion to the release, the electronic energy is up scaled here, but only in as much as is needed. The vibration created and the repeating motifs take nothing away from the soothing textures that had been thus far brought into the reality by the composer and pull back beautifully, in fact toward the latter part of the piece, the eventual coda is widened and the listener can then explore this musical land, this imaginary bay they find themselves in at the very coda of the composition.

Soft and Clear by Forrest Smithson in my view is the artists best work in this specific style since the release of his album Ooti in 2015. The composure of the artist as he manifests a wonderfully beautiful ambient album, with the fluency and smooth approach of a true master is something to be applauded, for me this is a perfect example of top quality electronic and ambient music and anyone who is into this genre like myself should avail themselves of a copy post haste.

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.