Music Archives
All reviews are by Boudica Copyright © 2000-2005 and may not be reprinted, copied or distributed in any way for any reason. Used with permission by Amazon.com, Amazon.UK, Ambient Visions and Epinions. No other use permitted.
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Music Archives All reviews are by Boudica Copyright © 2000-2005 and may not be reprinted, copied or distributed in any way for any reason. Used with permission by Amazon.com, Amazon.UK, Ambient Visions and Epinions. No other use permitted. |
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Dream Whose Time Is Coming
~ A Dream Whose Time Is Coming |
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Fireleap ~ Michelle Mays Many of you may have heard Michelle and her group at some local festivals; others may have her previous CDs. Her very successful first CD The Promise was a great hit on mp3.com and introduced the public to her rich, silky vocals and folksy guitar style. This CD is an introduction to a series Michelle is putting out of chants for each of the turns of the Wheel of the Year. This is music for pagan celebrations, focusing on the meaning of Beltane. There are nine tracks. This is a well produced CD, with good sound and quality studio work. The range of chants on this CD run from traditional to classical melodies with some very well developed lyrics. I was impressed with Evoking Beltane which uses music based on a Bach piece and some really nicely worked out lyrics. Michelle’s strong vocals give us a lovely introduction to this work. Snake Woman/Spiral of Life is another strong adaptation by Michelle. I found myself singing with it before it was over, a very catchy tune and easy to learn. Yabbo is another memorable tune, and Michelle is joined by singer Heather Alexander on this track. Music Weavers is in this same vein, a kind of a round that can be learned easily enough and worked by most anyone. Making a Connection is just… magical. A nice round with a spark of genius in the “connection”. Michelle tells me that this is a chant that has been used at “handfastings” or pagan weddings for years, usually spoken in time to clapping. She said she has always heard a melody for this in the back of her mind and she finally has put it together, quite successfully I might add. Fireleap returns to the more traditional, and you get an idea that Ms. Mays can handle a variety of styles and do them all well. Her strong vocals shine in this piece, along with some lovely harmonies with Phebe Smith who works on this CD with Michelle. Michelle also treats us to her ever popular rendition of Gently Johnny. I remember her and her group doing this one at some events I have attended, and I always enjoy this light hearted and very sexy composition. Michelle’s rich voice lends to the air of this being a very “titillating” song. Creation is a story, a prayer and a lesson for Beltane. Very nicely put together and wonderfully put to music, Michelle speaks this composition allowing her rich voice to control this piece and again, a nice production. The final track Earth My Body is a traditional piece that many folks may already know. It features sounds from “outer space”, the sounds that are made by the earth and have been recorded from space. They are added with the appropriate permissions from the University of Iowa, to allow the earth to speak for itself. Michelle creates some great harmonies, and with some help from some very special folks, presents this piece in a very pleasing and satisfying arrangement. I can see this CD being used by groups for some nice new additions to their Beltane ritual music or for other ritual events, whether it be using the CD as a background for their celebration, or learning the material with their group to sing at their gathering. The CD itself is a great learning tool, as well as being a nice addition to a solitary working as background and sing along. The material all relates to the Celebration of Beltane, having a very “fertile” appeal in either content or suggestion. Some of the pieces are clever in their lyrics and composition. There is good material here for group chanting. If you love Michelle Mays work, as I do, this is a must add just for her arrangements and vocals. If you have a group and are looking for something different and upbeat to add to your Beltane Celebrations, this is an excellent choice to work with. Either way, this is a great CD. mafoster |
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From the Sky ~ Ryan Farish You may have heard snippets of Ryan Farish’s music if you have ever watched The Weather Channel. His music has been featured on the Weather on the 8’s as well as Storm Stories. But his credits are not limited to TV snippets; his music also graces a documentary, and has found its way into the NPR radio stations and featured on CBN’s 700 Club. It was, however, mp3.com that made this artist. He originally released his music on mp3.com, rapidly becoming one of the most downloaded artists on the site. His New Age music is inspiring, providing compositions that explore his melodies fully with a very upbeat and positive inclination. This CD contains twelve tracks, with no times listed, and it runs about an hour. This is very professionally produced, with string arrangements by John Majkut. The Promise is reminiscent of Deep Forest, with drums, lovely piano composition, tribal voices and choir. This piece has a lovely upbeat rhythm and a delightful piano melody. A very good opening introduction to this CD. Living Water combines piano, guitar and flute with a lovely moving backbeat. Again, beautiful composition, smooth piano and well defined yet not overbearing beats making this a strong composition. Joy again combines beat, choir and an excellent piano to give us another lovely, blissful track. It bubbles in spots, and carries the listener along on a bright, smooth melody. The mood changes for Pacific Wind, and we are confronted with a piece that starts a little more “stormy” but never hits depressing. The piano work is more deliberate, the melody purposeful and the strings that accompany the piano are ethereal in nature as is the female vocals overlaid in the chorus. The piano and strings take center stage here, picking up the tone of the piece a bit, resting a little, picking up again and coming to a light finish. Very complex in composition and extremely enchanting. Home Again has a stand out beat, Again, bright, melodic and almost inspirational. Walk With You takes an almost Eastern turn, adding flute to accompany the piano with the return of the choir and tribal beat. A nice blending of rhythms and style. Legacy is a bit more sedate but still retains the steady beat and good strong piano melody. Again, very even piano work, nice choir vocals emphasizing the high spots, and good arrangement make this another lovely piece. We come to another mood change, with a heavier Eastern beat and flute work in Cry No More. This transforms into a Western rhythm, with lovely piano work accompanied by a very strong female vocal. Another lovely arrangement and indicative of the strength of composition Mr. Farish has. Miles Away is a brighter piece, lighter melody and beat, with an accent of choir voices very ethereal in flavor. Shine is another bright and bubbly composition, well defined drums, lovely piano melody and again, the ethereal voices accenting the piece throughout. Very upbeat, clear and very nicely arranged with complex piano composition. The title track From The Sky is deliberate, pensive, and explores the piano melody to it’s fullest. Rejoice! is the closing track, very tribal in feel, with native voices singing very gaily and the entire piece bouncing in a very African construct. Again this piece is reminiscent of Deep Forest, but much lighter, brighter and delightful. A resounding finish to this CD. It’s easy to see why this CD is #3 on New Age Billboard Chart. The music is always upbeat, even when it takes a time out to contemplate. It is inspirational in feel, and the compositions are worth taking the time to appreciate. As in all New Age music, this CD can be a focal point, or a soundscape for your personal space. A must have for your New Age collection. mafoster |
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Hear The Water Dreaming ~ Oophoi & Louisa John-Krol Ooohoi is an Italian artist, who has been creating “space music” since 1995. He has many credits to his name and over 20 CDs. Celestial Geometries is considered one of the five best space music CDs. His music creates abstract and surrealist soundscapes that take the listener beyond any known borders. Louisa John-Krol is Australian, and her previous works include songs about mystical animals. Her voice can be soft and celestial, or very dark and goth-like. The two team up on this CD to present the listener with worlds never visited before and soundscapes that challenge the imagination. This is not for casual listening, but rather for the love of listening to music that is beyond conventional and very artistic in nature. This CD takes the music to new heights and dares the listener to come along for the ride. There are seven tracks on this CD, times are not included. I believe this runs a little over an hour. Instrumentation is noted on the CD cover and includes bamboo flutes, singing bowls, crystals, rain sticks, mandolin, keyboards programmed percussion and more. The lyrics, when sung, are in English. The first track The Narni Owl is almost celestial in feeling. It starts with a spacey sensation. Added to this mix is the vocals of Louisa Joh-Krol. At first, it is abstract vocalizations, but they take shape, as the music does, finding a rhythm, finding words and becomes a story Conversations between a Wolf and a Firefly could be considered Monet’s Le Parlement if you were looking for something visual to compare it to. It is haunting electronica space music, over dubbed by the vocals of Louisa John-Krol – sometimes in distorted conversation – sometimes in echoed song. There is distortion later in the composition to create a very unearthly feel to the piece, with further sound effects to complete the image. The Hour of Fauns broods, like the furrowed brow of a hero contemplating the universe. The lyrics added by Ms. John-Krol create a darker, almost gothic feeling of this piece. The further it goes, the more disjointed it becomes, like a Picasso work in progress. Mostly electronica, there are elements of horns that fill in for the voice once the lyrics are completed. Let The Nightsky Envelope Us again has that very spacey feeling to it. With additional sound effects it is surrealistic in feeling, like a landscape from a Dali painting. Cavern of Dreaming Shells continues with the spacey feel, a bit more brooding, and the vocals of Ms. John-Krol return. This piece is broken into several movements. Again, we encounter the abstract joining of sound and vocals, sometimes the sounds are almost dark contrasting the light, wispy vocalizations. The Whispering Valley opens with Ms. John-Krol singing some very interesting lyrics. Her voice takes command of this piece, while Oophoi backfills with another dark and bleak soundscape. The contrast is incredible, like a very brightly colored Paul Klee painting, very complex in composition and very colorful. The final track A Vessel for Michael completes this CD as it began, very celestial in nature, with Ms. John-Krol’s heavenly vocals. The piece is not as dark as some of the other tracks, again including the softer sounds to create a kinder, more gentle soundscape than some of the previous pieces. This is not New Age, but more Electronica, very Nuevo in feel. It is meant to be listened to and focused on, so the music can take you someplace you have never been before. I enjoyed the ride and a look at another person’s creation of worlds apart from the masses. This is a lovely addition to your collection of space music. mafoster |
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Saiyuji ~ Richard Bone Richard Bone’s background is in a variety of musical genre which includes jazz, but he is all about electronica. And his discography is impressive, with some wonderful works of electronica soundscapes and impressionistic moods. His approach is one not unlike the beat poets of the 60s, following his own drummer, coming up with some very imaginative and substantial works. This is the final installment in the three part work started with Disorient and continued with The Reality Temples. Like the previous works that connect with Oriental Mysteries and Western Philosophies, the name of this work Saiyuji is taken from a Buddhist temple in Singapore. This CD contains nine tracks, for a total play time of about an hour. This disk also includes two videos of the tracks included. The individual compositions are built on actual analog synthesizers. He then creates “old technology meets new technology” in the works and overlays each composition with contemporary beats and world rhythms and instrumentation contrasting the analog synthesizer beats. By Any Other Name is a delightful opening to this CD, with the wonderful keyboard work Richard is so well known for. Melodic, mysterious, and mystifying, the work is soothing. There is a beat; a gentle swaying rhythm to this piece. Saiyuji (dawn) opens with an analog synthesizer beat in the familiar zero/one or on/off pattern. It almost has a very Eastern feel to it, tinkling with symbols and develops an electronic beat. The addition of what could be Bali Bells adds another dimension to this construct which again features his well designed keyboard augmentation. Vagabond Messiah starts out as celestial space music, picks up on a very well defined tribal beat, and flows very gracefully into a composition that beacons you to get up and move your body to its sultry melody. Oblique Heaven starts with an electronic beat, simple in nature. It surrounds itself with some electronic backfill that builds with keyboard chords and finds its way into a charming melody. This piece is exemplary of the build and blend structure that this CD is all about. My Indelicate Star starts with the old, familiar analog synthesizer we remember from early synthesizer works; the structured rhythm of zero and one that we became familiar with from older master works. Added to this is the familiar sound of analog synthesizer “strings” playing wistfully against the beat. This is over layered with Richard Bone’s spacey keyboard structures to create a very obvious blend of the older technology in harmony with the new. A very lovely work masterly crafted. The Road to Ahamkara is a much bolder piece, starting out strong and well defined in its beat, demanding attention as the mood shifts. The rhythms are almost jazzy, overlaid with keyboard melody that marches along in time with the beat. A nice composition with a flavor all its own. Aquaville starts off with keyboard chords that build staggered steps into a very Latin rhythm; soft, sexy, very daring. This piece is like silk as it flows very gently through your mind, with keyboard backfill that allows the piano to define the melody. Improbable Earth starts out with the now familiar bass zero-one synthesizer beat and moves into the piano melody. This piece is more defined by the zero-one beat than any other rhythm, as it floats on the border of space music, being defined rather than allowed to drift freely. A nice contrast is offered and it is very original in design. Saiyuji (dusk) is sort of reprised at the closing of the CD, with the same beat as (dawn) picked up a bit more at the opening of the work. The overlaid melody is a variation on the (dawn) work but much more daring. It takes off on its own, still reminiscent of the (dawn) piece but it becomes its own composition. The rhythms pick up in the piece as it very boldly brings this CD to a close, again in contrast to the opening work which was wistful and soothing. Again, this is a piece that beacons you to move your body in time with the rhythms and it is a good, strong finish to this CD. The videos that are included “are from a continuing series of ambient visualization by Richard Bone”. The one for By Any Other Name is a series of slow motion/stop action images of roses in bloom. The other included video is for the track called Improbable Earth. The website has a third video for Aquaville. I always find Richard Bone’s works to be original, very well structured and enjoyable to listen to. This CD does not fail in any of these categories. This is ambient at its most innovative. It can be played to be appreciated, yet it still maintains the ability to blend with the background creating a peaceful soundscape for your environment. It is always a pleasure to hear new creations from Richard Bone. mafoster |
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Hall of Sound ~ Vince Littleton Vince Littleton is a drummer, and this CD features mostly rhythms and percussion. His background is playing with some well know names like Dr. John, John Lee Hooker and J.G.B. to mention a few. He has also collaborated on movie soundtracks and video games. And he teaches drumming. The promotional material suggests he is similar in sound to Mickey Hart’s Planet Drum or Peter Gabriel’s Passion. Well, maybe. But to be honest, he has a sound that is all his own, suggestive of primal rhythms, yes, very tribal, encompassing elements of various world traditions. Then there are the movie soundtrack bits, but we will get to that. He is accompanied on several tracks by the drumming skills of Paulo Baldi, Charles Neal, and Brett Paschal and more. The musical instrumentation includes percussion, synthesizers and piano, flutes, tuba and bass. There are ten tracks on this CD, no playing times are given, and I believe it runs about an hour. The opening track The Drones opens with a storm, and provides a “drone” background against which drumming and cymbals and other effects play. Good solid beat, breaking for a momentary rest and then picking up right where it left off. A good start, moderate yet well defined. Track two African Voices picks up the beat, does work on African rhythms and is a really good composition. Strong, forceful, and keeping in style of African rhythms. Nice effects add to the production and it makes you want to get up and move. This track leads into track three: Nature Boy. This starts out with a beat that reminds me of an elephant meandering over the plains. Again, more tribal in rhythms, a slower pace than the previous piece, but a good strong composition. Cow bells and interesting inserts of sound make this an appealing track. The Oracle gives us more tribal beats with some vocals and more interesting sound devices to add to the drumming. More of a Middle Eastern flavor comes across in this composition. Another “gentle” beat, but still beckoning the listener to move their feet. Track five Lujon (Henry Mancini) opens with piano and breaks into a Conga interpretation of this piece. This breaks the “tribal drumming” styles of music that we have been presented with up to this point, and offers melody on piano and synthesizer to give the effect of a band. Animal sounds give this a definite “Island” feel, but the break from the first four tracks is a bit out of place here. And where the next track returns to the tribal influences and refocuses on the drumming, this piece seems even more out of place. I liked it, the arrangement is good, but it doesn’t seem to fit here. Track six Balafon Brett returns to the drumming and tribal influences. The flutes and balafon (African Xylaphone) are fascinating additions, and while offering some structure, the focus is not lost on the drums. Again, a good, strong composition, making you want to move in time to the rhythms. Futurians begins almost as “space music” leaving behind the structured rhythms we have heard up to now, and hints at Indian sitars. It follows into very Indian rhythms, and we find ourselves transformed from Africa to India. Again, nice drumming, nice rhythms, and a nice composition softer than the previous pieces. Korean Love Curse seemed to start off tinkling a bit, but I miss the drumming. Instead there is bamboo rattling, some sound effects of storms and such. But the vocalizations take over center stage and it is more a drama piece - Korean Opera than a drumming piece. This presents us with another track that seemed to be out of place. Drumming comes in later in the piece. The flavor of the drumming up to now was African and Middle Eastern; you can even include the Indian influences as melding into the framework the artist set up in the opening tracks of this CD. But this piece is Korean Opera. The composition ends with some stronger drumming, but it was lost on me after sitting through the opera. We return to the strong tribal influences in A Night in Fez. We go back to the drumming, but now we have included very heavy sound effects, like animal noises and vocals which become distracting and overpowering. The drumming becomes lost. This is a very short piece, and appears to be a lead in to the next piece. Xpollinate opens with some very basic hand drumming and never picks up from there. It is overlaid with heavy sound effects, then the drumming breaks, and we are left with “rain” which brings us to the end of another short track. This CD started out strong. I loved the drumming, the tribal rhythms were good, with the beat being slow enough to get up and move without burning you out. The disk takes a turn in the middle however, returns to the focus for one track and then wanders off again. I found myself losing interest once the mood of the CD changed. I was encouraged to continue with the return to the focus on the Balafon piece, but the mood changed again, and again I lost interest. I stuck it out, but was disappointed that the CD went in so many different directions without a common thread. It may be nice to present the listener with a good overview of your abilities, but the variations were so far apart, from tribal influences, to show music, to more tribal, to a montage of sound effects and then it peters out with a rain. I would like to hear more drumming from this artist. Mr. Littleton presents us with some wonderful rhythms. And because Mr. Littleton does have talent in the “sound track” area, a CD of nothing but this style of music would be interesting as well. But this CD felt like it was running some place, got lost and then ended up being interesting but unfulfilling. mafoster |
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Romantic Energy ~ Twelve Girls Band This is very new and very different and I found it a delightful experience. This group is from The People’s Republic of China and use traditional Chinese instrumentation to produce some very interesting interpretations of Western music as well as some very interesting Chinese compositions. This is their second CD, and I understand it has been a very big success, as well as their sold out live performances across the United States. I put this in the category of World, because their music runs from pop, to classical to New Age and then to Chinese. Yes, it all works very well on this CD, not clashing in any way or stretching the listener from one form to another. The CD I have has 12 tracks, one of which is a live performance. The recording quality is excellent, even the live performance. There are some familiar pieces on this CD and there are some very new and wondrous compositions. Note here that the CD that is offered for sale has a DVD, which I did not receive for review. Dunhuang, the opening track, sets the mood and the pace for the rest of the CD. Dunhuang is a series of caves in China, noted for their artwork. There are some paintings of musical performances, acrobats and such included with the scriptures, and this piece reminds one of a mass performance of entertainers, very traditional Chinese in style. Well chosen for the opening. The feeling of a full orchestra is consistent in each performance. Mostly all of the tracks are upbeat in their composition and style. Some are romantic in feel, others demand presence as this piece does. The second cut Ruten is just as dynamic as the opening piece, allowing some of the instruments to come to the front and allowing the listener to hear the excellent skills of the players. Each musician in this band is classically trained in their instrumentation, and it shows in their ability to provide traditional music or wonderful improvisation to the arrangements. There is almost a Celtic feel sometimes to this piece, but it is expertly blended with the traditional sounds of the band. River Shule falls back into a classical style of Chinese melody. It wanders like the river does in Gansu Province, where Dunhuang is also located. A very flowing piece, very romantic, as the title of the CD suggests. One almost gets the feel of a gondola on a Venice canal. Yangguan is another composition inspired by Gansu Province, and this piece again connects to that traditional Chinese location. Romantic Energy, the title track, is another arrangement with an almost Celtic flavor, but still maintains the Oriental feel. This piece sways and dances while we explore the talents of the individual artists who are again being allowed to show their skills with the traditional Chinese instrumentation. El Condor Pasa is the work by Simon and Garfunkel. And it is charmingly interpreted here in a blending that delights the ear. This is one of those “you have to hear this” pieces to understand how it “translates into the Chinese” effortlessly, and skillfully. And it twists with just a touch of “pop” that is cleverly done. Tang Court Ensemble is a very traditional work, again interpreted by the band so it plays well for the Western ear. From the Beginning Until Now is a lovely composition that sounded vaguely familiar, but I believe it was written to do so. A lovely piece that spills over with romance and continues the flavor of the title of the CD. Whispering Earth is a very hauntingly beautiful composition, and includes some vocals to hold that illusion. Very traditional Chinese in feel, yet it manages to break that restraint and provides a place somewhere between the East and the West. Flower works into pop again, with a kick of jazz, and presents us with yet another side of the band. Again, the artists are allowed to show off their skills in a new medium and it is very nicely done. Carnival returns us to the “Chinese meets the Celts” style of music, again very nicely executed. Some real “get up and dance” feel to this piece. The final track is the live rendition of “Freedom” from their 2004 CD. It has lots of audience participation that does not distract from the work. But it does show that the audience knows their band and its work. This is a lovely composition, and it will have you clapping as well. A nice closing piece to this CD. Overall, I am impressed with this group. This is a great first impression for the new listener to this kind of performance. The band is tight, knows how to please the listener as well as show off their excellent skills. The compositions are well chosen, and the CD is a good production piece. If you enjoy upbeat music, and would like something with a slight Chinese twist, this is a lovely work to add to your collection. While it does run towards the “pop” side, it has elements that could be classified as “New Age”. I will tell you, in my book the only way I classify it is “totally enjoyable”! mafoster |
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Water: Element Series ~ Peter Kater New Age music should border on classical, melodic, easy on the ear, but it can be strong. It should allow the listener to concentrate on the music for enjoyment, or blend into the background and become part of the environment, bordering on the edges of silence while filling the spaces between. It should have good production values, in other words it should not sound like it was recorded in someone’s basement. Preferably it should sound like someone put the time, effort and interest into producing quality music for the listeners enjoyment. And it should sound like the composer is putting his best effort into the work. Peter Kater is one such composer/artist. Nominated for “Best New Age Album” in 2003 and 2004, he is very accomplished at this particular genre. His newest work is a grouping of four CD’s on the elements – Earth, Air, Fire and Water. For this review, I chose Water. The focus is to present the Element of Water in a series of compositions that would connect the element to the listener. This production is all acoustical, and gives us Peter Kater on the piano, Paul McCandless on oboe and English horn, and Mike Hamilton on guitars. First, the production quality. For an all acoustical production, it is excellent. You can hear the piano strings vibrate as he holds the notes, the guitars resonate and you can feel the depth of the oboe. You are given an environment that touches you personally. Excellent recording and production values. There are eight tracks on this CD for a total time of 60:23. The CD cover and liner notes are lovely designs and reference about the CD itself. From the opening track Substance of Life you get the feel for Mr. Kater’s piano. Soft, subtle, yet it takes command of the composition. His notes are purposeful, deliberately bringing your attention to the work. This piece is abstract in its composition and yet there is a base melody that carries through the entire piece. Like the flow of a gentle fountain, you hear the guitar, and the oboe against the piano like drops of water that harmonize. A lovely composition and a good start to the work. The second work, Surfacing, is another slow and deliberate work. Starting off with piano scales, it plays on the boundaries, allowing you to soak in the sound of piano and the harmonies of the strings. This is when you appreciate a quality piano and good production work. The oboe breaks the spell, moving it to another level of consciousness. The two play back and forth, harmonizing and complimenting each other. The feeling is the instruments rising to the surface of your mind, like bubbles on a calm surface. Water Ballet again plays the piano with the oboe, this time in a more of a dance, a duet, as opposed to the previous piece in which they play back and forth. This piece has a very “classical” air about it and is very composed in nature. Gently Dreaming is another piece that is classical in nature, and I almost had an impression of Debussy in the feeling of this piece. The composition is beautifully executed on piano, and is a work that exhibits the artist’s talent on the piano as well as his composition skills. Strong melody, purposefully executed, with the oboe joining further into the piece to rework the main melody and bring it to the surface, never breaking the serenity of the piece. Silent Steps is more a mood piece. It almost broods, becomes contemplative in its feel but never hits melancholy. The piano backs the oboe in the opening of this piece, allowing the guitar to backfill melody against the oboe. The piano comes to the front, moves aside for the guitar and the oboe. A personal impression of the feeling of the music is a rainy day on the streets of your favorite city. A lovely work, highlighted by the guitar work of Mike Hamilton. Lakeside is a piano composition that has a classical feel, but a bit more abstract in the melody. Nicely worked, very calculated in its timing and structure, like ripples on still water. Cascade builds on single notes into many notes, working the concept expertly. Again, abstract in its feel, the composition is very deliberate. There are some lovely piano rifts as this piece builds, this being one of the more dynamic offerings on this CD without ever intruding on the listener. This all piano work eventually shifts gently back into the recesses of the mind, leaving the listener as peaceful as it first found them. The end piece Calling You again gives a hint of Debussy in feeling, almost a sonata, presenting a lovely melody with a hint of Spanish rifts. A more pronounced piece, the piano makes a strong finish inviting the oboe to compliment the melody. This is an attractive close to this CD. This is a lovely work, paced slow and purposeful to draw the listener in. There is much piano here to appreciate, and the oboe work is a delightful contrast and compliment to the compositions and the piano. If you like New Age material, this is a classic example of how it should feel and sound. It may be a bit slow for some folks, but the movement of water is never good when rushed. This work does not hurry the listener, but rather allows them to drift, taking the time to enjoy each note and phrase of the compositions. This is a nice addition to any New Age library. mafoster |
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Fairy World II – Various Artists from the Prikosnovenile Label Prikosnovenile is a French import label, which means “soft touch” in Russian. This label has collected some very interesting music from all over the world and this is their second compilation. The “fairy” is a cute little graphic which is their logo done by Sabine Adelaide. The fairy is actually more than just a logo, it is a visual depiction of the work compiled by this label; very artsy, very colorful and very eclectic. There are seventeen tracks on this CD, presented in a booklet form with the CD attached on the last page. The booklet covers a brief history of the label, artists, their releases and some really interesting information about their CDs, their work and their style. The booklet is very beautifully illustrated with pictures of the fairy in various compositions, all done by Sabine. I got the feeling of “Cirque du Soleit” from the booklet, very colorful, very “avent guard”, delightful yet intriguing. The booklet I received is in French and English, as is their website. The music collected on this CD moves from what might be considered “pop” to ambient to world, to very artistically developed compositions. There is piano pieces, orchestrated works and some good band pieces. There are some impassioned vocals, delightful harmonies and a good sampling of what kind of music is developing in the European market. The countries represented here are England, France, Ukraine, Slovenia, Australia, Greece, Czech Republic, Australia, Bulgaria, Russia and Japan. This is world tour of music in about 70 minutes. And it is as interesting as it is different. Note that some of this music is listed as “unreleased tracks” which means it may not be available anywhere else, but it is a good sampling of each of the artists and their work and this is not an unknown practice in the music world. I choose to review the artists and their style, rather than each track. I felt it was much easier to get the feeling of the CD across to you better, as this is really all about the artists. pinknruby open the CD with a track called Broceliande. The duo is all about classical acoustic guitar and the play of the enchanting vocals of Mihaela against the harmonies of Paul Bradbury. Very light and airy, lovely and just on the edge of sensuous. In the same vein is Deleyaman, a mixed Armenian/French duo of Aret Madilian and Beatrice Valantin. The music is almost medieval in flavor, dark, mysterious with some very captivating harmonies. Anassane has a slight tribal or African influence in her music. Cecile Rabhi’s vocals play well against percussion and electronica backfill provided by Fred Chaplain (Lys). Lys is also featured on two other tracks. On one he provides strong male vocals accompanied by Louisa John Krol and Francesco Banchini. The other is a guitar work with vocals. These are very ethnic feeling compositions, bordering on ambient. Fleur is pop, from the Ukraine, with the female vocals of Olga and Elena against piano, guitar, cello and violin. A rather delightful addition to this collection. Zmiya – I would like to describe their piece Solmamdenlo as electronica with a Middle Eastern/reggie beat. They are a group of six musicians who introduce ethnic music to electronica. Another French group that presents an interesting mixture that works very well. Misstrip is “trip-hop” and pop from France. Appealing vocals that run from light and lilting to deep and demanding mixed with borderline industrial or goth. Another group presented that falls into this “goth” type of feel is Collection D’Arnell Andrea. This is a female lead vocalist with an electronic goth backup. A mix of the light side meeting the dark. Ghost Fish is Louisa John Krol, Daemonia Nymphe and Nikodemos Triaridis. Ambient electronica, ethereal vocals, heavy drums and a slight twist of the harmonies make this another artistic original. Daemonia Nymphe also appears on another track giving us a composition very Greek in feeling with delicate vocals. The Czech Republic presents us with an ambient piece, New Age in feeling, of lovely violin work. Ivo Sedlacek displays “Hindu” violin in a very beautifully composed and presented work. Strong violin work here, with a subtle guitar backfill. Irfan is Bulgarian and their music reflects their traditions. Again, a medieval feel to the music and female vocal harmonies, accompanied by traditional instruments. Moon Far Away is a Russian group, very ambient in flavor, with hints of traditional folk music. Caprice is also a Russian group, ambient as well, composed of 11 musicians, and they entwine their work with female vocals to present a very mystical feel. And from Japan we have Jack or Jive, very traditional ambient music, focusing on piano and electronic backfill woven with some very enticing female vocals. If you love world music, this CD is going to give you the latest and greatest these musicians have to offer. It is a mix of pop and ambient, all of it is well produced and added to the collection so it opens a door to new sounds. While my tastes are most definitely ambient, the pop pieces gave me something new to appreciate. They were not out of character with the rest of the CD. And I thoroughly enjoyed this delightful trip through the Prikosnovenie catalogue. There are a lot of talented musicians here and I hope to hear more of their music imported to the American market. Visit their website at http://www.prikosnovenie.com mafoster |
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Reiki Whale Dreaming ~ Kamal Kamal explored a variety of musical styles before settling into the “New Age” genre. His work is done on synthesizers and he composes some lovely meditative music blending synth with instrumentation and it shows his classical background in both style and composition. This CD gives us a combination of Kamal’s beautiful compositions accompanied by some guest performances of well known musicians and whale songs. All of this is blended to create music to play while working Reiki. This is a follow-up to his Award Winning CD Reiki Whale Song from 2001. There are eight tracks on this CD with a total play time of 60:51. The cover art features whale designs and has the list play and some liner notes. The opening track Northern Lights sets the pace for this CD and gives us a beautiful composition combining the whale song, soulful flute, light piano and some electronica backfill that creates a soft, gentle and very soothing piece. The Yearning features Cleis Pierce on violin. This is a very inspiring and relaxing composition and Ms. Pierce lends her expert violin skills to Kamals keyboards and guitar. Initiation features the didjeridoo of Dr. Didj playing to the song of the whale. I was impressed with the contrast of instrument to the whale song. Throughout this collection we hear the woodwind work of Ariel Kalma, and here I believe we hear her also echoing the song of the whale. Raga for a Whale features Harry Manx on mohan veena. A stringed instrument looking like a guitar with twenty strings, it was created by Vishwa Mohan Bhatt. This raga is slow, accompanied by whale song enhanced by the expert work by Harry Manx. A short piece, it is very lovely as the mohan veena harmonizes with the whale song. The Whale Who Dreamt the Sea is a spacey piece with chimes, electronica backfill, sounds of bowls and dijeridoo and it is the longest piece on the CD at over eleven minutes. It is one of the most Reiki oriented pieces on the CD. The whale song does not appear in this piece till after about 7 minutes, so the whales never overpower the piece, and this creates a gentle flow; peaceful and beautiful. A Whispering Dream also has a spacey feel, opening with wind and whale song and continuing into electronica backfill. It has more of a flow, but still maintains the “spacey” feel. Again, a good Reiki piece, and again, a very lovely and serene piece. The Healing Waters has more of a melody with a spacey feel, combining woodwind, keyboard and whale song. There is a bit of a “bubble” sound peppered throughout the piece to give the feel of water. It drifts as it flows, very nice for a Reiki session. Coming Home features female vocals, whales, a bit more of a beat and melody. Chimes, some electronica and keyboard backfill this piece, never distracting from the vocals. There is a break filled by the lovely viola of Cleis Pierce. But the vocals is the focus, and it a exquisite ending piece to this work. This work by Kamal is a lovely blending of whale song and relaxing, beautifully composed music to use as a backdrop to Reiki work. I found the whale additions to be subtle but never overpowering, and the music is very conducive to the original purpose of this CD; Reiki. A good choice for the Reiki worker or a nice selection for relaxing, contemplative music for your home or office. mafoster |
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Unreleased Promotional Copy not yet available and no release date yet |
Terre De Sacha – Laliya Laliya is an Australian duo, very tribal in feel and I had the pleasure of listening to their newest release Terre De Sacha. Laliya is an aboriginal word meaning “The Dreaming”. This group is composed of Melissa McCarthy (Australia) on drums and James Maguire (Ireland) on strings (including dulcimer) and didjeridoo. On this CD Arshi accompanies with flute. There is a hint of Irish/Celtic in their work, but it feels “World” and very “Down Under”. The CD has a total of eight tracks. Total play time is not noted on this pre-release copy I have, nor is the time noted on the individual tracks. This is an upbeat CD. Get out of your chair and dance across the floor material. Good beat with the drums, the strings are expertly played, and the music is mostly light, bouncing and happy. There are a couple of more sedate tracks andt they never get oppressive, but rather contemplative. The first track Terre De Sacha (Part 1) is a waltz. Storm sounds and birds open the track and set the stage for a dance around your living room or on your balcony as you watch the passing storm. A very memorable melody and a nice introduction piece to the groups work and feel. Baba Ghanoush is more upbeat, tribal in feel, opens with drums and didjeridoo and gives your feet something more to work with. Lovely string work here; the composition has a definite Irish feel to it. This piece has more power in it and is nicely executed. Asgard returns to the melodic style of work, but still maintains the beat and presence. Again, nice string work. Laliya opens with lapping water and is a slower piece, very melodic flute with string accompaniment. A charming, light and contemplative piece, it is more ambient than tribal, and works well here. The pace picks up again with Sankura with more drumming, didjeridoo and some light and airy string work. The didjeridoo is more pronounced here and is right at home in this composition. Again, an Irish dance feeling to the piece. Terre De Sacha (Part 2) is the waltz reprised, without the storm. It appears to be variations on the theme, but is still very recognizable. Flutes, strings and a nice rhythm beckon your feet to the dance. Shakia again features didjeridoo and strings, with a stronger beat. More of a tribal feel comes across in this piece, but it still retains an Irish flair. The closing track is called Cathars. This piece broods a bit, didjeridoo backfilling the solo string work. This is contemplative, breaking into a composition piece. It Borders on dark, but never quite crossing that line as the string work still retains it’s lightness. I’m sure there is a story here and it comes across in this closing piece. This is a nice presentation by the duo. Excellent strings, the drumming enhances this work and it has some good energy as well as original composition. I can see why this band is very popular in Australia and Europe right now. I enjoyed this introduction to the band and have their first CD here for future review. Visit their website at http://www.laliyausa.com for more information and their CDs. mafoster |
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Visions and Dreams ~ Catherine Duc Catherine Duc describes her style of music as ambient, Celtic, electronica and world. Listening to her CD, it is somewhere in that realm, but to be honest, she has an original style to her music that her description falls short. She does herself a disservice by trying to categorize her work as being similar to someone elses. Her style and compositions are very much her own. It is ambient, without a doubt. It does have a world feeling, sometimes on the Celtic side, but it is much more original than that. The compositions are all put together on electronic keyboard. It is definitely electronica, but it could stand to be orchestrated. There are ten tracks to this CD, but times are not listed. The CD runs about an hour. The compositions are mostly above average in development of the melodies and she shows in this CD why she has received awards for her music. The melodies flow well and are mostly memorable. The electronic keyboard is a blessing and a curse. While allowing the artist to control the compositions, some of these compositions would benefit from having some real instrumentation backing up the delightful keyboard. Her synthesized instruments sounds synthesized. Some of these compositions deserve some orchestration, and that is a down side to this CD. There are some compositions that could stand some additional power. Some of the melodies jump at the opportunity to be bolder, yet they appear to have been held back. Again, it could have been the fault of the keyboards or production issues. The compositions are well worth listening to, regardless of the presentation. From the opening notes to the end of the CD, Ms. Duc presents us with some fine ambient selections. Dancing in the Mist is a very upbeat and well developed composition. Synth harp, a nice back beat, and a very memorable melody that recalls a Celtic flavor highlight this composition. “Evocation” is reminiscent of something between “Delerium” and “Deep Forest” with a subtle female vocalization but it is totally a Catherine Duc creation. Very sultry, very delightful. One Autumn Day has a David Lanz piano feel to it, but it is more electronic. Good electronic piano work, and again, a memorable melody making this another good example of her work. I think it would have benefited from a real piano here, mixed with guitar and then having electronica back fill the work. I could hear where she was going with this, and it has much promise. Secret Sanctuary is a softer piece, and again good composition, lovely melody and the right choice for keyboard and electronica. This is one of her lighter pieces that dances in the background of your memory. Nicely done. “Rivulet” is another softer piece, almost oriental in flavor that again sits lightly on the edge of your senses. Heart of Andalucia is a piece with a Spanish feel on keyboard. This composition is well developed and could have gone with more instrumentation to bring out its strengths. I feel a guitar doing the keyboard rifts would have lent more to the Spanish flavor of this piece. It gave me a “Monica Ramos” feel but without the power and it could have withstood some additional energy to make it the authoritative piece it seems it wanted to be. The track Incense is another work that has a world feel, Middle Eastern in flavor, and would have benefited from instrumentation backup. A good, strong composition but production needed to be punched up a bit to bring out it's strength. The material here is good. Ms. Duc does well with what she has at her disposal. But some of her compositions could be dressed up a bit with some better production values. She has some compositions that are softer ambient pieces that she does well, but there are compositions here that are strong and should be allowed to impact the listener. Ms. Duc can write a strong melody, and she should allow them to come throughl. Her softer pieces are soothing and very lovely and she did very well with those. A good first CD from Ms. Duc. I loved her melodies, and hopefully we will hear more from her. mafoster Track Listings
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De Profundis/Out of the Depths II ~ Terry Oldfield Terry Oldfield’s music has a very definite spiritual edge to it, speaking from the depths of the soul and providing the perfect accompaniment to those moments when you sit in contemplation of life. Terry is known for his music for TV productions, especially National Geographic, and scores for movies such as The Falcon that Flew with Man. Previous works include In the Presence of Light and Zen. This CD explores the depth of Terry’s music, combining his talented alto and soprano flutes with the beautiful vocals of Dani Vickery. Add to this some keyboard fill, male choir voices, and the song of the humpback whales and we have a very impressive presentation. There are four tracks on this CD, for a total time of 52:49. The cover art of a whale tale in a blue ocean to a blue sky speaks of the title more than the words alone… Out of the Depths. The first track, Deep Connection, starts with the flute. Light, airy, with the vocals of Dani Vickery echoing the flute to create a very ethereal feeling for this piece. A very soft, lilting and serine composition, highlighting Terry’s expertise of composition and flute skills. The second work, De Profundis, is a continuation of the first piece, and progresses melodically into a melodic chant, performed by Dani Vickery and a male choir, reciting an excerpt in Latin from Psalm 129 – Out of the Depths I have Cried to Thee Oh Lord, Lord Hear My Voice. It progressively becomes more brooding with keyboards providing an orchestral backfill and then easing back into a solo piano and finally the flute. Dani Vickery’s voice and the flute assure the piece never becomes dark, providing the lighter, more airy elements to the piece fading to completion. Ocean Song introduces the element of whale song, starting with a whale solo. Dani Vickery and the flute are added into the mix, creating a hauntingly beautiful composition. Again, it is kept light, airy and has a surrealistic feel to it at times. Ms. Vickery harmonizes with the whales and the flute at times, in some places she repeats the melodies, allowing the whales to stand out in the piece and lending it the human element. The flute weaves the entire composition together. Out of the Depths picks up the pace a little with tempo, still incorporating the element of the whale song and Dani Vickery and using a variation of the chant of Psalm 128, now in English: Out of the Depths, I have Called The; Lord Hear My Voice Calling Thee Tonight. Flute takes the forefront again, repeating the melody of the chant, and it progresses with keyboard orchestral fill and the repeated chant by Ms. Vickery and the songs of the whales. The piece ebbs and flows, sometimes accentuating the whales, sometimes emphasizing the chant. Ms. Vickery harmonizes with the whales, echoing their song at time, creating a very lovely, very poignant musical composition. The chant has variations at times and Ms. Vickery works this well. She has a very lovely voice and her skills to either lead or blend are center stage in this piece. The flute again weaves the melody in and out of the vocalizations. The piece comes hauntingly to a close with the whales and Ms. Vickery drifting softly out to sea. |
