Awakening By Carbe and Durand

 

Awakening

By

Carbe and Durand

Written by

Steve Sheppard

 

It is always an absolute pleasure to welcome new offerings from the remarkably talented guitar duo of Liza Carbé and Jean-Pierre Durand, performing together as Carbé and Durand. Known globally for their fiery and intricate work with the acclaimed Latin-fusion ensemble Incendio, I freely admit to being a huge fan of all of their work, some of which takes me back to the turn of the century and a release called Misterioso.

Today were lucky enough to have another treasured gift in a new single called Awakening and originally conceived as a reflective piece from the 2003 Incendio catalogue, this newly mixed live rendition breathes fresh, poignant life into the composition. From the very opening notes, one is immediately captivated by the crystalline tone and natural warmth of their acoustic guitars.

I have often wondered what attending a concert by this pair would be like, judging by this single alone it would be a bliss filled experience. The musical chemistry between Carbé and Durand is nothing short of telepathic. Rather than rushing the tempo or leaning into technical bravado for its own sake, the duo allows every plucked string and harmonic resonance to linger in the room. Their interplay is conversational, deeply expressive, and bathed in tenderness; this brand new composition manifests a reality of expression bathed in memory and reflection.

This is going to be a massive hit single without a doubt, as music of this calibre reminds us that true virtuosity often lies in restraint and soulfulness rather than sheer volume. Awakening is a deeply soothing, reflective gem, a gift of musical solace and hope, one that everyone should invest in.

I Still Worry About You, My Love By Dreamscapist

 

I Still Worry About You, My Love

By

Dreamscapist

Written by

Steve Sheppard

 

So when one steps into the sonic realm of Australian keyboard instrumentalist and composer Paul Headon, known across the ambient world as Dreamscapist, one must be prepared to leave the frantic rush of the modern day firmly at the door. His 2026 single, I Still Worry About You, My Love, is a masterclass in emotive storytelling, a deeply reflective and tender composition that wears its heart squarely upon its sleeve.

Paul Headon aka Dreamscapist is without doubt the pack leader in the ambient genre, his releases have thrilled me and taken me personally to a place of sanctuary and solace. If someone were to ask me to name an artist that is the preeminent leader of true ambient music, I would have no hesitation in pointing to the works of Dreamscapist. Even the title reminds me of a piece of modern art one might see in the Tate.

This is one of the most sublime offerings in this genre at well over eight minutes, daring and challenging all those who dare to insult the lovers of real music with their two minute casual throwaways. Here Dreamscapist takes you on a moving journey leaving you wanting more, and being utterly grateful for the 8 minutes and 24 seconds invested.

This is easily the best ambient music single I have heard this year with ease, I Still Worry About You, My Love stands as a shining example of modern cinematic ambient artistry. I urge anyone who adores deeply expressive, soul stirring instrumental music to dive into this remarkable single by Dreamscapist; it is a timeless musical sanctuary that will stay with you long after the final echoes fade.

Silvestrov By Catherine Weary

 

Silvestrov

By

Catherine Weary

Written by

Steve Sheppard

 

There are composers who write music, and there are composers who seem to listen to the silence that exists beyond music. Valentin Silvestrov belongs unmistakably to the latter. In this album, pianist Catherine Weary enters that deeply personal landscape with an evident sensitivity to the composer's distinctive musical language. I haven’t heard such a charming and warm album since the late but great Michael Harrisons gift to the world of Revelation in 2007.

Here on the opening piece the relationship with memory is very apparent, but isn’t that the secret of really well composed music, evoking memories and emotions, there is something almost elegiac about this approach. The music seems to exist in the space between remembrance and disappearance, which makes Bagatelle, Op. 1, No. 2 and excellent place to start, and performed, so well by Weary.

The second opus has a gentle sense about it, and whilst its flowing narrative is tentative, it’s structured beautifully; this is ambience personified and called Lullaby, Op. 2, No. 1. There is a careful uplifting narrative within this piece that makes the skin tingle; Silvestrov's music rarely demands attention through grand gestures or virtuosic display and this very track is a perfect example of that statement.

Waltz, Op. 3, No. 2 is a crafted piece and performance from Weary and the composer, there is a clever symbiosis here that needs to be enjoyed. One that creates the impression of two voices exchanging phrases across a considerable emotional distance, this is one of the deeply profound offerings from the album. Rather than presenting a continuous melody in one register, this arrangement allows musical ideas to migrate between registers, and Weary’s masterful performance brings it into our reality.

This isn’t one of those albums that you can just listen to once, there is always something in here that requires genuine listening, time and dedication, the following track highlights this and is called Postludium, Op. 2, No. 4. For Catherine Weary, this miniature demands considerable delicacy to tonal colour and dynamic proportion. A tenderly played offering and one built on utter sensitivity and care.

From Bagatelle, Op. 1, No. 1 we find a series of miniatures. There is a delicacy here that needs to be recognised, the combination of folk-like melodic repetition, extended tonality, delicate dynamics and an almost improvisational sense of phrasing creates a musical world of unusual intimacy, one that is so attractive and charming, whilst Bagatelle, Op. 2, No. 3 gifts the listener something more spacious and reflective, its character is distinctly pastoral: graceful, luminous and delicately old-fashioned, as though a little fragment of French Baroque keyboard music has drifted into the modern world.

Bagatelle, Op. 1, No. 3 has that melodious sense of phrase that makes it for me the prettiest piece of the album. The tempo changes feel spontaneous, while the shifts between major and minor should be allowed to register without exaggeration, but it is a delicate offering that shits beautifully within its own foundation, this flows beautifully allowing us to swim within the refrains of the gentle Bagatelle, Op. 4, No. 3. Which is an exquisite example of instrumental genius; it is an utterly glorious, lulling masterpiece that I guarantee will move you both emotionally and spiritually. Dive deep into its arrangements; it is a performance that deserves to be savoured over and over again.

The final segment of the aforementioned opus is now upon us and called Bagatelle, Op. 4, No. 2. There is a calming reality here that is so soothing and delicate that it literally charms the listener into listening more deeply. It is utterly mollifying, and will allow the mind to drift free from its restraints.

Waltz, Op. 3, No. 1 is our penultimate offering, it is also as close to film score standard as you could wish for, the smooth style and tender performance manifests a feel good moment for the listener. Whilst our final portal to the works of the composer comes in the guise of the concluding narrative entitled Postludium, Op. 3, No. 4. The texture here is akin to a soft blanket caressing the shoulders in the coldest of winters. And the performance is easily one of the most heartfelt from the album. Catherine Weary captures the very essence of Silvestrov's fragile musical poetry with an astonishing refinement of ear, and a sublime caressing tenderness of the keys in a classic final parting gift.

This is an album for listeners who value atmosphere, nuance and the poetry of understatement. It rewards patience and repeated listening, revealing new emotional shades with each encounter. I cannot emphasise enough that one listen is simply not enough to gain the full pleasure one can reach and obtain from this wondrous release. Silvestrov by Catherine Weary is an album birthed in the textures of ambience, and is a tapestry of sheer soothing genius, and a timeless performance that demands to be a huge hit, and rightly so.

Sonoran Seduction By Bryan Quinn

 

Sonoran Seduction

By

Bryan Quinn

Written by

Steve Sheppard

 

Following on the footfalls of his last single Solitary Refinement, Bryan Quinn gifts us a beautifully layered offering of multi instrumental magic and of course driven by his masterful flute and called Sonoran Seduction, the second single from his forthcoming album Three Chords & The Flute.

From the very first notes, there is an unmistakable sense of place, a musical landscape that seems to stretch endlessly beneath an expansive desert sky. There is an alluring quality to this composition, an almost hypnotic invitation to step away from the noise of the world and surrender to the beauty unfolding before you.

But perhaps layered in the weave of the title is a cautious warning, as the word seduction can be something of an interesting power play regardless of where it comes from. Here Quinn provides us with a steady cadence, and is a fine example of a beautifully layered composition of musical multi-instrumental magic, with acoustic guitar and mandolin written into the weave as well.

What makes Sonoran Seduction so compelling is its ability to evoke emotion without demanding attention. It allows its musical narrative to breathe, gently drawing the listener into its atmosphere and creating a wonderfully immersive experience, a smooth sensual motif of sounds that are built carefully and creatively, ones that will seduce the listener into either purchasing a copy or at the very least adding it to their playlist of choice.

Allowing the Heartache to Fade by Curtis Macdonald

 

Allowing the Heartache to Fade

BY

Curtis Macdonald

Written by

Steve Sheppard

 

I seem to have known Curtis Macdonald for years, so a quick check on my musical collection would indeed tell me it takes me back to the year 2002 and an album called Shadow Crossing. Here some 22 years later we are gifted a new single from the artist called, Allowing the Heartache to Fade. Curtis we will find has updated his style and methodology to bring us one of the most melodic songs from his vast collection ever.

The title is quite prophetic for a range of relevant reasons at the end of 2026, but in my view Curtis has produced the most moving song ever with a modern style beat and percussive element, and a very chilled keyboard which conjures of some delightfully smooth reflective nuances. Some songs arrive quietly, but leave a lasting impression, and Allowing the Heartache to Fade by Curtis Macdonald is a title that immediately speaks to anyone who has ever loved, lost, and had to find the courage to move forward.

It’s an artistic delight to listen to this creative slice of genius from the musician, this is such a meaningful offering, I think it will easily become a fan favourite within moments of its release. This is music for those quiet moments, perhaps when the world has gone still and memories come knocking. It's a reminder that healing doesn't mean forgetting; it means finding the strength to smile again.

Allowing the Heartache to Fade is a beautifully evocative title that deserves a place on the playlist of anyone who appreciates music with feeling, meaning, and a message that resonates long after the final note.

Find out more by visiting: https://www.cmmpmusic.com/

Or find the links to where you can find the music here: https://ampl.ink/3QYvX

Waiting For Today By Victor Towle

 

Waiting For Today

By

Victor Towle

Written by

Steve Sheppard

 

In a world that seems permanently caught up in the business of rushing, worrying and searching for answers, Towle offers something rather special: an opportunity to stop, breathe and simply exist within the moment, today 6 years after the release of my first Towle album Colorado Zen comes Waiting For Today, a sublime moment of solo acoustic guitar for any instrumental fan to enjoy, Victor Towle has proved to the world that he is a master instrumentalist and guitarist with absolute ease.

From the very opening piece which is the delightfully empowering title track Waiting For Today, Towle shows his intent, he immediately establishes the album's character. Gentle, melodic and quietly uplifting, it sets the stage for a collection that understands the emotional power of simplicity.

While Coffee In Tangier ushers forth a more reflective nature and perhaps an even more quizzical tone and timbre, with its atmospheric character drawing the listener into an evocative musical landscape. The next opus Trying To Explain is utterly delicious and at times quite meditative in its aspirations. There is a lyrical quality to the guitar here that makes words almost entirely unnecessary and just happens to be one of my favourite expressive tracks off the album, the transition from acoustic to electric is also palpable.

Brisk Golden Walk gifts the listener a swift moment that is so very delightful a beautifully buoyant composition that seems to capture the simple pleasure of stepping outside, feeling the sunshine and reconnecting with the world around you. Whilst All That I Have Left has a sensitive tone and a colourful flourish about its musical nature that should be appreciated by all; we also find that the piece moves into more contemplative territory, carrying a bittersweet emotional undertone that lingers long after the final notes fade.

Mellow Mischief is well named; it’s one of those tracks that you curl up to with a loved one on the sofa and just romantically chill with, a particularly interesting excursion into layered instrumental textures, where acoustic and electric guitar colours combine to create something playful and engaging. It is a reminder that relaxation need not mean musical predictability, but a joint symbiosis of tone and textures.

This next piece would turn out to be my favourite called Lingering in the Long Shadows. Apart from it being a brilliant title, it reminded me greatly of US guitarist Robert Linton in its overall beauty. As does the piece Wandering Home, perhaps the later adding in a little Will Ackerman into the mixture, both tracks capture the imagination entirely. These compositions demonstrate the real strength of Towle's artistic vision. Rather than chasing dramatic climaxes or overwhelming the listener with unnecessary musical flourishes, he allows his melodies to breathe and unfold naturally.

Our concluding narrative is entitled Soft Furnishings. One could call this as an opus of comfort perhaps; its warm refrains are simply the perfect ending you would wish for. It feels like the musical equivalent of arriving home after a long journey, leaving the outside world behind and finding comfort in familiar surroundings.

Waiting For Today by Victor Towle is the perfect album for the modern age, it is a fine example of truly good guitar playing, and it is an intelligent and moving album that deserves its plaudits. Ultimately, Waiting For Today is an album about rediscovering the beauty of the present. It reminds us that happiness doesn't always arrive with grand announcements, that peace can be found in the smallest details, and that sometimes the greatest musical experiences are those that encourage us to slow down and listen, this one is a sure fire hit with ease.