Album Review: Music Inspired by Middle Earth Vol. II by David Arkenstone

Review by Candice Michelle

I have long been fascinated by the life of J.R.R. Tolkien and his best-selling classic epic fantasy novel series The Lord of the Rings. If there is one composer who can most perfectly pay musical homage to the enduring legacy of Tolkien’s greatest works, it’s the creatively prolific David Arkenstone. A musical novelist in his own right, as well as multi-Grammy Award nominated recording artist and Billboard New Age chart-topper whose career spans more than three decades, Arkenstone is certainly no stranger to the fantasy genre. Having mastered a diversity of musical styles – including Ambient/Chill, Celtic, World and Classical Crossover/Pop – Arkenstone frequently draws creative inspiration from ancient folklore, mythology and natural places of wonder across the globe.

The second companion to Arkenstone’s 2001 album Music Inspired by Middle Earth, Tolkien’s epic story is sonically re-imagined once again on Arkenstone’s Music Inspired by Middle Earth Vol. II – a 14-track album spanning approximately 63 minutes – whereby the listener is invited along for another enthrallingly magical adventure.

Atmospheric symphony and haunting choral figures open “The Shadow of the Past” wherein the veil between our world and the enchanting one depicted in the novels is once again lifted for a time. “The Green Dragon” follows with a festive arrangement of Celtic rhythms and violin (courtesy of Luanne Homzy) as one might imagine themselves joining the lovely hobbits for some dancing, drinking and playfulness among the green hills and pastures. Subsequently, Jillian Aversa provides ethereal wordless vocals on the mesmerizing “Daughter of the River”, a delicate and flowing piece that feels like sailing down a sparkling river in a paradisiacal elven forest.

Other outstanding pieces like “Servant of The Secret Fire” and “Minas Morgul” make use of darkly dramatic orchestration, shadowy gothic choirs and thunderously cinematic drumming, recalling the darker neoclassical mood of Arkenstone’s 2016 album Beneath a Darkening Sky.

Two other notable favorites include the back-to-back compositions “Caras Galadhon” and “Fangorn Forest”. On the watery and crystal-like “Caras Galadhon”, gently whirling minor-key orchestration conveys a bewitching suspense that feels reminiscent of "Lothlórien" or “The Palantír” from the first Music Inspired by Middle Earth album. In gentle contrast, “Fangorn Forest” recalls some of Arkenstone’s more world-tinged albums (plus the classical symphonic touch) with its native flute, rhythmic shakers and clicking percussion.

For those who enjoyed the accompanying film scores by Howard Shore to Peter Jackson’s cinematographically gorgeous and otherworldly movie adaption of The Lord of the Rings trilogy, David Arkenstone’s Music Inspired by Middle Earth Vol. II is an absolute must-have for any L.O.T.R. novel, movie, music or memorabilia fan. Variably moving along its course from dramatic to dreamy, and suspenseful to serene, Music Inspired by Middle Earth Vol. II is another poetically magnificent musical journey that could be described as ‘atmospheric classical fantasy music’ – and sure to be a top contender in the genre for this year’s best album.  

~Candice Michelle for Journeyscapes 

For more information please visit the artist's website. Music Inspired by Middle Earth Vol. II is also available at Amazon, Apple Music and more.

Album Review: Colors of the Ambient Sky by David Arkenstone

David Arkenstone is unquestionably one of the most important and versatile recording artists in “new age” and related genres of music – having released over 60 studio albums over three decades. Very few musicians have so profoundly mastered the plethora of styles that Arkenstone has – his musical endeavors encompassing everything from classic 80’s-style “new age” – to ambient, electronica, cinematic, neoclassical, world, pop and soundtrack music. If I were asked to name my favorite Arkenstone album, his 2010 magnum opus, Ambient World, would be in the top-running for that title. And that’s way I’m ecstatic to announce that his latest release, titled Colors of the Ambient Sky, is like Ambient World’s long-awaited sequel that I’d be yearning for, yet which I thought would never arrive. Comprised of 9 compositions spanning 47 minutes, Colors of the Ambient Sky is a stunning sonic venture into the best that ambient, downtempo and chill-trance music have to offer – all composed in Arkenstone’s unmistakably familiar style.

The spellbinding first track, “Parallel World”, opens with deep space drones before transitioning into signature Arkenstone ambient territory. A keyboard figure enters that feels equal parts Tangerine Dream and Patrick O’Hearn, followed by a bouncy chill-trance rhythm. Right away, this cut signals that Arkenstone has picked up – with ease – right where his landmark Ambient World album left off. “Red Sun” opens with sequenced bells over synth pads that soon lead into a serene meditation before a slow groove appears. There’s also a beautiful section in this piece where the rhythm disappears for a moment – hence, seemingly no one can create musical drama like Arkenstone. Although “Starlight, Starbright” may bring-to-mind a children’s nursery song, on this album, the third track that bears this title is a sensually gorgeous and moody composition, which encompasses different eras of electronic, ambient and space music. Throughout, lonely piano notes hover amid mesmerizing chords and a sexy downtempo rhythm, while a keyboard solo at the end of the piece is an exercise in beautiful restraint.

“Darkness Descending” majestically lives up to its title, as one can easily envision the stars appearing one-by-one in the encroaching night sky in tandem with the pulsating sequencer patterns that Arkenstone begins the song with. Blissfully reminiscent of the music of Carbon Based Lifeforms, this composition’s main pattern of notes never disappears, as additional layers are brought in, which are set to a hypnotic ambient-trance rhythm. Where this track has us looking upon descending darkness, the next one, “Rainbow Galaxy”, is a truly multi-colored piece of music. Here, synth figures move back-and-forth in the stereo field, as a slow groove supplies a beautiful backdrop for glittering, dance-like chords. “Blue Lightning” conveys a great mystery, as if one is contemplating the vastness of space and time. I can almost detect a touch of old-school Depeche Mode in this piece, as percolating bass brings us back to earth just in time for an instant chill-trance beat.

“Lonely Satellite” is perhaps the most visually evocative piece on the album and aptly conveys a solitary satellite floating high above earth while listening. Unlike the other tracks herein, there’s no rhythm on this free-floating composition – just beautifully drifting spaces and subtle melodic keyboards. The somewhat foreboding “Visitors” – of which its title might suggest extraterrestrial visitation – starts off with a most haunting synth pattern along with what sounds like gentle rain in the background. One of my favorites on the album, the strong element of mystery is certainly palpable in this song, as a hypnotic beat propels it into new territory. The final track, “Ascension”, begins with a classic new age choral feel – ala Constance Demby or Vangelis – before a sequenced series of notes introduces the main rhythm and melodic theme. As the title implies, it’s an uplifting song, yet nevertheless retains the mysterious mood that Arkenstone has created throughout the previous compositions. The song seemingly concludes with a musical question mark conveyed by its closing chords floating in the air, unresolved.

A brilliant sonic masterpiece from start to finish, Colors of the Ambient Sky easily places in the running for the top album of the year. Likewise, an essential traveling companion due to its addictive juxtaposition of simultaneously relaxing and rhythmic elements, I’ve found that not since the release of Enigma’s The Fall of a Rebel Angel have I listened to an album this often while driving. Not only is Colors of the Ambient Sky an absolute must-have for fans of David Arkenstone, but fans of Enigma and Carbon Based Lifeforms – as well as ambient-electronica and chill-trance in general – are especially likely to relish this album! ~Candice Michelle  

For more information please visit the artist's website. This album is also available on Amazon, iTunes and Google Play.

Album Review: Beneath A Darkening Sky by David Arkenstone

Recorded by candlelight during the winter season, Beneath a Darkening Sky is multi-instrumentalist and award-winning composer David Arkenstone’s boldest foray yet into dark neoclassical and haunting ambient terrain. Comprised of seven tracks spanning just under an hour, the compositions vary from seven to nine minutes in length. Composed, performed and produced by David Arkenstone on electronic instruments and synthesizers, as well as old-world instruments, he is joined throughout by Luanne Homzy on violin and viola, along with Susan Craig Winsberg on flute and Irish pennywhistle.

“The Fog” opens with earthy drones and hazy choral intonations as the piece gradually unfolds throughout. Anticipatory and foreboding while perhaps hinting that one is making their way through the fog of a dark forest, a pulsing bassline and tribal percussion soon follow along with the medieval sound of a harpsichord. The composition's shadowy mood continues on “The Deep Desolation”, where deep metallic echoes resonant like that of old church bells. These enchanting elements are soon accompanied by what sounds like a cross between Gregorian chant and a male opera voice, interlaced with shimmering and suspended oscillating strings. Next is the “The Storm”, which picks up more dramatically, imparting an ominous feeling that someone or something is on the arrival, as windy gusts and crashing metallic tones mimic lightning and thunder. Beautifully chaotic and disorienting, powerful drums seem to signal a heavy downpour, conveying the sights and sounds of twisting and winding tree branches among the blackening mists. “The Moonless Midnight” alludes to the phase of the new moon, when the night sky is the darkest. This composition conveys a dungeon atmosphere, as low drones and vocal intonations reverberate throughout its ghostly halls. A humming rhythm with the accompanying sound of a hang drum follow; one perhaps feels like they’re making their way through a secret tunnel beneath a medieval castle – torch in hand and all – while possibly trying to decipher cryptic writings on the wall. A cold winter’s eve is conveyed on “The Ice Forest”, a piece that feels distinctly Celtic with its added textures of wind and string instruments. Appropriately dedicated to J.R.R. Tolkien, “They Are Coming” boasts a cinematic soundscape of dark fantasy where mythical creatures populate a cavernous underworld. Opening with more windy gusts, “The Wind From the North” is the album’s final chapter. Swelling strings and minimal percussion lend themselves to the composition’s encapsulating suspense, until the eerie sound of a church organ signals its conclusion amidst swirling chilly timbres.

Magnificent and outstanding from beginning to end, Beneath a Darkening Sky is one of the most phenomenal albums I’ve heard all year, and easily sits among David’s finest works ever. He has incorporated many elements from both his Ambient.World and Music Inspired by Middle Earth albums – both of which are two of my personal favorites – while imbuing this latest masterpiece with an even darker, bolder sound. An undisputed genius at creating highly visually-stimulating and soulfully transportive concept works, Beneath a Darkening Sky is a must-have album for any Arkenstone fan, as well as those who love darker ambient, neoclassical and fantasy film music! ~Candice Michelle

For more information please visit the artist's website. This album is also available at Amazon and other retail & streaming platforms.