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: Oracle of Delphi by Rusty Crutcher

Review by Candice Michelle

Composer and Multi-instrumentalist Rusty Crutcher has been producing and releasing music on his own artist-owned label, Emerald Green Sound Productions, since 1987. Having released seven albums in his historical/mythical-themed Sacred Sites Series, Oracle of Delphi is the latest installment inspired by Crutcher’s exciting travels to sacred sites throughout the world.

As the album title suggests, Oracle of Delphi takes the listener’s mind on a journey to a glorious mystical place in Greece’s ancient past – Delphi, a sacred precinct that served as the seat of the oracle, Pythia, who was consulted by people throughout the Mediterranean and beyond.

Comprised of ten compositions spanning just under an hour, the album seemingly guides us through shadowy portals and watery corridors that are perfectly illustrated by minimalist neoclassical and symphonic ambient vistas.

We sail away to an enchanted land with the dreamily foreboding opening piece, “Miriam’s Wish”, which is characterized by an understated orchestration of synths, strings, chimes and woodwinds.

The third track, “Aegean Reflections”, is one of my favorites, pleasantly recalling the album Journey to Atlantis by Llewellyn and Kevin Kendle. Here an ethereal coalescence of flowing strings, siren-like vocals and pulsating rhythmic undercurrent paint tranquil mental images of a mythical undersea kingdom.

The fifth track, “Apollo Awakens”, is another highlight that perhaps suggests a misty sea voyage amid towering mounting cliffs with its haunting duduk, eerie timbres and glistening bell tones conveying exploration and mystery.

The seventh track, “Pythia’s Trance”, is especially noteworthy for its earthy touch and hypnotic mood on which delicate panpipe and melodic percussion evoke veiled forest imagery.

If you enjoy fantasy film scores and video game soundtracks – and Greek mythology in particular – Oracle of Delphi provides a great musical companion for nighttime listening by candlelight or while reading an exciting novel.

~Candice Michelle for Journeyscapes 

For more information please visit the artist's website. Oracle of Delphi is also available at Amazon, iTunes, and more.

Album Review: Debris of Nostalgia by Acheloo

Acheloo is the recording alias of Italian ambient composer and guitarist Carlo Luzi, whose music I initially discovered in early 2018 with his 2017 album Ethereal. Titled Debris of Nostalgia, Acheloo’s latest full-length release is comprised of nine hauntingly beautiful soundscapes filled with mystery and melancholy. Written, produced, mixed and mastered by Luzi, who also designed the album’s cover artwork, Debris of Nostalgia features luminously drifting electric guitar figures and sparsely shimmering piano notes, which are carried along throughout by expanding clouds of quasi-cinematic permeance.

The profoundly affecting compositions are quietly understated yet emotionally intense, a characteristic that is perhaps best exemplified on “Distant Sign”, which perfectly captures how a piece of music can be so subtly simple yet magnificently moving. Softly rolling in and out like an ocean tide, the main repeating chord figure of this unforgettably gorgeous passage conveys a poignant comfort and mysterious longing that washes over the senses, as shadowy tonal atmospheres materialize like rising mists from the sea.

The album’s use of the word “nostalgia” effectively conjures both a relative personal past and ancient mythical past, as such is the case with the mesmerizing farewell, “Underworld”, which exceptionally embodies this quality. Evocative of entering a gateway to another realm, metallically shimmering guitar notes peer through towering icy blasts, which can be likened to sailing on a cold sea through a mountainous strait, as we are briefly met by a hauntingly disembodied echo that beckons from the amorphous ambient fog.

Easily a top contender for the year's finest ambient recording, Debris of Nostalgia immediately captivated my ears upon first listen and has only increasingly enamored me over the past few months. A crowning achievement for Acheloo, the minimalistic elegance and aching sense of yearning the compositions convey puts me in a similar headspace as Harold Budd’s outstanding classic The White Arcades – a compliment of the highest order! ~Candice Michelle 

Available at Amazon and Bandcamp. For more information please visit the artist's website.

PGM 239: Autumn Rain

A contemplative ambient/minimalist piano mix to convey a rainy fall!

ARTIST – TRACK TITLE – ALBUM TITLE
Michael Brant DeMaria – Renascence – Ama
Lena Natalia – Lonely Satellite – Lonely Satellite
Joep Beving – Into the Dark Blue – Henosis
Michael Whalen – Hush the Night – Kiss the Quiet
Pangaea Projekt – Time to Dream – Winter, Vol. 4
Elena Talarico & Francesco Zago – The Circles – Then Elephant Speaks
Rob Simonsen – Ciel – ‎Rêveries
Aija Alsina – Reflection – Domum
Víkingur Ólafsson & Ryuichi Sakamoto – BWV 974: II Adagio (Rework) – Bach Reworks (Pt. 2)
Tale of Us – Distante – Endless
Jordan De La Sierra – Temple of Aesthetic Action (Pt. 3) – Gymnosphere: Song of the Rose
Keith Tippett – Dear Ireland – The Unlonely Raindancer
Aidia – The Fog Lifts – A Beautiful Fall

Album Review: Lonely Satellite by Lena Natalia

Lena Natalia is a Chicago-based pianist and composer who initially captured my attention a couple of years ago with her second album entitled Rendezvous in Paris (and follow-up to her debut release, Sundays in Paris). What especially drew me to Lena’s music was her unique brand of ambient-piano and classical minimalism that intriguingly sets her apart from a plethora of comparatively more “contemporary” and “new age” defined piano albums that I’ve heard over the past few years. Comprised of 15 compositions spanning 42 minutes – with all but one piece clocking in at under 4 minutes – Lena’s latest album titled Lonely Satellite further expounds on the subtle direction of last year’s release, Almost Home, with its uniquely processed effects applied to her piano. Utterly transforming Lena's otherwise solo instrumental pieces into duskily atmospheric, multi-tonal soundscapes, I find her compositions deeply affecting and often wistful with an air of reminiscent longing.

From the opening piece, “Ballerina at Night”, we’re met with an instantly memorable melody and Lena’s now-familiar style of interlocking piano figures. One of my favorites, “Munich Train 7H04”, is a shining example of Lena’s ability to imbue her compositions with a sense of haunting nostalgia. Here, as with other pieces, she achieves that by applying an echoing, reverberating effect and underlying rhythmic pulse. On “Lonely Satellite”, mellifluously cascading piano notes seemingly fall all around like raindrops onto an encircling puddle of water – making this an exemplary classical ambient piece of supreme beauty and coy elegance.

Overall keeping in line with a more minimalistic approach, Lena’s music isn’t noted by particularly overt crescendos or musical peaks throughout. Rather, her generally understated yet undeniably intricate compositions tend to beguilingly shimmer like filtered light beneath a watery surface. A musical genius in the realm of modern piano music, I expect Lena Natalia’s star will continue to rise ever-further in its sky! ~Candice Michelle

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

Artist Spotlight: An Interview with Lena Natalia

We’re excited to present an audio interview with Chicago-based composer Lena Natalia. Possessing a signature sound and style that could be described as ‘minimalist classical meets ambient piano’, she released her fifth album last year titled Lonely Satellite, which was named one of the top 25 albums of 2018 on Journeyscapes. In this segment, we’ll learn more about Lena Natalia, as well as her inspiration for Lonely Satellite. So please tune-in for a casual yet insightful conversation about music, the moon, and her muse!