Album Review: Dreams Beyond Terra by ELEON

Dreams Beyond Terra is the debut album from electronica recording artist ELEON who co-produced this project with guitarist and ambient musician David Helpling. Comprised of twelve engrossing compositions, Dreams Beyond Terra is a sonically epic and soulfully elevating listening excursion into euphoric ‘chill’ and downtempo-trance. Likewise, some cuts feature Helpling on electric guitar, which he ethereally weaves into these lushly majestic soundscapes.

Sounding off this fantastical journey is “Species Communicating”, a piece that immediately conveys a rapturous sense of travel by flight with its pronounced bassline and steady trance-dance rhythm. Seemingly unbounded by any specific locality, it’s as if one is viewing oceans and landscapes while soaring high above the earth. Moving next into “Terra Sanctuary”, breathy vocal intonations add another element of intrigue to what could be described as a ‘chill-trance’ anthem. Tracks like “Carbon Beings” and “Bionic Travelers” employ the kinds of digital sequencing and heavy downtempo beats that often characterize ‘psybient’ music, except that the overall mood here tends to the more euphoric and extrospective as opposed to the psychedelic and introspective. My favorite composition herein is the mesmerizingly beautiful “Earth to Heavenly Places”, with its title perfectly summarizing the overall feel of the album. Sensually trippy and fantasy-like, softly-uttered female vocals lightly scattered among the piece lends it an extra dimension of mystifying intrigue. “Will Your Heart Dance with Mine” is the most subdued and light-bodied track on the album, with its subtle rhythm and ethereal synth-pads conveying a floating airiness that pleasantly recalls some material from Bryan Carrigan’s Inspired album.



Integrating trance, downtempo and ambient musical concepts for an end-result that will appeal to a wide-range of electronic music lovers, Dreams Beyond Terra easily makes the short-list for this year’s finest electronica albums! ~Candice Michelle



Available at Amazon, Bandcamp and other music retail & streaming platforms.

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: Tranquility by Ambiscend

Ambiscend is the recording alias of Texas-based electronic music composer Darren Rogers, who’s previously released several albums ranging from ambient-space to new age. Comprised of five compositions spanning approximately eight to ten minutes each, Darren’s latest album, titled Tranquility, occupies a serene sweet-spot between the two styles, as subtly melodic synthesized textures are enhanced throughout by field recordings of ocean waves and nocturnal forest environments.

The album opens with the aptly-named and beautiful piece, “Time of Tranquility”, which is characterized by subtle major-key transitions comprised of metallic shimmers that seemingly evoke a blue sky streaked by cirrostratus clouds. Spanning a little under ten minutes, the composition is slightly reminiscent of the music of Deuter or Liquid Mind, as accompanying sounds of glassy chimes and singing birds enhance its lulling atmospheric tranquility. “Floating Enchantment” follows along a similar path with slowly-shifting synthesized tones, although this time accompanied by the nocturnal sounds of chirping crickets and gentle ocean waves that aptly convey a scenic nightfall. The tantalizing and mysterious, “Earth Sings its Song”, is easily my favorite – clocking in at ten minutes even. Here, shimmering swells and rolling waves allude to an underwater paradise that pleasantly reminds me of music from the album Journey to Atlantis by Kevin Kendle and Llewellyn. “The Night is Calling” continues with cascading waters washing upon glistening tones – until finally concluding with “Earth’s Bedtime”, on which chirping crickets return to the dreamy accompaniment of celestial chords and sparsely-spaced wind chimes.

An essential relaxation album, Tranquility would make a perfect aural accompaniment to massage, healing baths or other spa therapies, and easily joins the ranks of other top-notch contemporaries in the field! ~Candice Michelle



Available at Amazon and Bandcamp.

PGM 172: LOVE POTION

A sensual brew of lush ambient & downtempo chill.

No. ARTIST – TRACK
01. Stellardrone – Rendezvous with Rama
02. Polished Chrome – True Love
03. Evenus – A Moment With You
04. Translippers – Full Moon Kiss
05. C.M.I. – Moments In Love (Milews Chill mix)
06. Electrotete – I Love You (Bug-Eyed Bears from Venus Mix)
07. Sean Hayman – Sea Of Love (Whisper mix)
08. Vangelis – Love Theme (from Blade Runner)
09. Song Sung – I'm Not In Love (Exclusive 10cc cover version)
10. Darshan – Ambient Kissing Crust
11. Love Potion – Beauty Sleep

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Please familiarize yourself with our station’s format and general atmosphere of our broadcast before submitting your work. Journeyscapes plays a human-curated 'chill'-centered mix of ambient, space, downtempo, ethereal, electronica, new-age & atmospheric world music, spanning electronic and global rhythms to floating cosmic soundscapes, with some lush vocal tracks sprinkled throughout.

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Album Review: Urban Metta, Vol. 2 by Anaamaly

Urban Metta, Vol. 2 is the anticipated second installment in the Urban Metta series by electronic music composer Phil Strickland, who records under the project name of Anaamaly. Comprised of eleven compositions spanning nearly 70 minutes, this album, like its predecessor, was conceived with the intent of inducing blissful states of relaxation, and is likewise well-suited for massage, mediation and yoga practices. Stylistically part ambient and part “new age”, each composition is titled after a positive affirmation that all begin with “I”. Although on its surface this notion may strike some listeners as being a bit too typically “woo-woo”, Phil’s extensive background in the chill-out, downtempo and instrumental hip-hop genres effectively help to keep these compositions firmly anchored in compositional depth and delightfully free of excessive syrup. Filled with churning textures, humming chords and organic/environmental samples throughout, the compositions mostly adhere to similar sound patterns, with each possessing individual nuanced attributes.

“I Am Ready to Forgive” introduces the album with billowing tones, swishing chimes and ethereal synthesizer washes – immediately signaling an immersive experience that defines the rest of the compositions. Following next is “I Am Inspired by Possibility” – one of my favorite pieces on the album. Here an oscillating and slowly-shifting drone underscores a beautifully drifting aquatic synth melody. The ensuing “I Am a Co-Creator” is also a notable highlight; weaving softly melodic bell-tones and the sound of running water into a mesmerizing soundscape, it feels like a rejuvenating bath or spa experience.

Another noteworthy composition is “I Give My Truth” with its heavy fog of synthesizers that seemingly convey a transparent veil of luminously streaming colors. “I Affirm All That is Good” is easily the album’s most mysterious and spacey passage, as well as perhaps my personal favorite of the lot. Comprised of synthesized vocal textures that shift along a hypnotic chord sequence, the piece effectively elicits images of a vast cosmic expanse. “I Have All That I Need (Album Version)” perfectly wraps things up in a blanketing gossamer haze, from which a more overtly shiny keyboard melody beautifully emerges.

An excellent follow-up to volume one, listening to Urban Metta, Vol. 2 feels like entering the idyllic repose of a tranquil Zen Garden. Serving as the perfect soundscape for eliciting a calmer, quieter state of being, listeners who enjoyed Anaamaly’s first album are sure to find this one to be equally rewarding! ~Candice Michelle

Available from Amazon, Bandcamp and other music retailer & streaming platforms.

PGM 156: HAUNTED WORLDS 3

An otherworldly chillscape for all hallows' eve.

ARTIST – TRACK
01. Deep Imagination – Dancing with Ghosts
02. Kevin Braheny & Tim Clark – Sorcerer's Parade
03. Blackmore's Night – Ghost of a Rose
04. Evadez – A Creeping Lullaby
05. Mark Dwane – Roswell
06. Sverre Knut Johansen – Orb Beings
07. Enigma – Sadeness (Part II)
08. Love Potion – Bleed Black
09. Ascendant – Scorpio
10. Falling You – The Art of Possession
11. Stimulus Timbre – Magical Creatures

Album Review: Deep Space Blue by Jim Ottaway

Deep Space Blue is the latest album from Jim Ottaway, an electronic music composer based in Gold Coast, Australia. Having released several albums in the ambient, space and electronica genres, Deep Space Blue is a classic ambient-space recording much in the style of Jim’s early 2016 album, Southern Cross, with the two albums being separated by a late 2016 release of dynamic electronic music called Timeless e-Motion. By the time that album was released, I sensed that Jim was well on his way to achieving much greater recognition among the electronic-space music scene and my instincts were proven right; he has since received notable airplay in the U.S. on terrestrial radio programs such as Star’s End, Echoes and Hearts of Space. On Deep Space Blue (which is comprised of six compositions spanning an hour in total), Jim crafts and shapes his illustrious cosmic soundscapes using a plethora of top-notch electronic musical equipment to achieve a highly dimensional and realistic-seeming sonic experience.

Opening the album is the nebulous “Astral Voices” – a drifty and subtly melodic composition characterized by shimmering soundwaves and ethereal vocal intonations. “In Search of the Lost Star” follows next – a contemplative and immersive piece comprised of undulating textures and a free-floating semblance that seemingly carries the listener throughout space in slow-motion. Spanning at over eleven minutes, “39.5 Light Years (Trappist -1)” effectively conveys a notion of traversing unfathomable distances across the cosmos – its underlying rhythmic current highlighting synthesized vocal tones and creaking sound effects evoking the cold vastness of space. Imbued with a touch of Kevin Braheny’s classic Galaxies album, “Stars of Ice” is the perfect piece for winter stargazing – its glistening icicles and foreboding drones seemingly conjuring images of an ice palace located somewhere in the abode of an alien world. The title track, “Deep Space Blue”, is a comparatively more digitally dynamic piece that conveys a feeling of interstellar space-travel and zipping through wormholes. Concluding the album is the nearly 16 ½ minute long “Interplanetary Panspermia” – a darkly retro-futuristic piece of resonating deep space signals and spooky sci-fi effects that effectively convey an extraterrestrial presence.

A mesmerizing cosmic voyage from beginning to end, Deep Space Blue is definitive ambient-space music that plays out like the perfect soundtrack to a sci-fi movie or astronomy documentary. Certain to appeal to listeners who enjoy the many classic space music works by artists such as Jonn Serrie and Kevin Braheny, this fantastic album marks another “stellar” win for Jim Ottaway! ~Candice Michelle

Available at Bandcamp, Amazon and other music retail & streaming platforms. For more information, please visit the artist's website.

Album Review: Ovum by Chronotope Project

Review by Candice Michelle

Chronotope Project is the recording alias of Oregonian ambient/electronic music composer and cellist Jeffrey Ericson Allen. His seventh recording, titled Ovum, is likewise his third release on the prestigious Spotted Peccary Music label, following his excellent Passages and Dawn Treader albums. Comprised of seven compositions spanning fifty-one minutes of organic-electronic bliss, Allen creates deeply immersive, lushly ambient soundscapes that juxtapose synthetic tones and textures with natural instruments such as cello, flute and Irish whistle. Most notably, as with Chronotope Project’s previous albums, the Haken Continuum Fingerboard is frequently featured as a solo instrument where it often takes precedence as a key signature element. Conveyed by visually captivating artwork intended to represent a primordial state of being, each composition audibly illustrates a subtle emergence from either an earthly seed or cosmic source, which gradually unfolds into a continuously evolving and metamorphosing journey.

Inspired by our distant ancestors, the opening piece, “Olduvia Dreams”, effectively transports the listener to remote islands in the Pacific or Indian ocean. Guided along by churning textures and ethno-tribal percussion, the composition eventually blossoms into a luxuriantly flowing arrangement of sensual earthly delight. Exuding the essence of a tropical rainforest, Gamelan-like timbres, ethereal tones and fluttering flutes further paint a surreal and primeval paradise. Deeply meditative and supremely mesmerizing, the title track, “Ovum”, slowly unfurls into an all-encompassing environment permeated by haunting glissando throughout, as the piece effectively evokes subtle shapes and colors that seemingly morph into suspended liquid formations. Illustrating the transitional process of metamorphosis, “Mariposa” (Spanish for ‘butterfly’) ensues with soaring glissando and a drifty bassline amid lightly rhythmic Berlin-School sequencing. The particularly spellbinding, “Primordial”, seemingly evokes a biotic alien world of primeval oceanic lifeforms and nocturnal bioluminescence. In an ode to scientific discovery, “Starry Messenger” perfectly concludes the album with an encircling illuminated environment comprised of iridescent bell-timbres in tandem with prolonged arcs of cello and flute. An indescribably beautiful piece that perceptively alters one's state of mind, it seemingly leaves the listener with a feeling of elevated awareness and conscious expansion.

Destined to become one of this year’s favorite albums, Ovum is easily Chronotope Project’s most impressively cutting-edge work to date. Although distinct unto itself, stylistic and atmospheric parallels to artists such as Ishq and Robert Rich as well as the album Ambient 4: On Land by Brian Eno can be drawn. Feeling simultaneously rooted to earth yet linked with the cosmos, Ovum is certainly not to be missed, undoubtedly earning Jeffrey Ericson Allen a spot at the round table of ambient music’s finest!

~Candice Michelle for Journeyscapes Radio


 

Ovum is available at Spotted Peccary Music, Bandcamp and Amazon.

PGM 120: HEART MUSINGS 3

A chillout/ambient mix to celebrate the month of love.

No. ARTIST – TRACK
01. Jean Mare – Cosmic Voices (Mystic Love Mix)
02. Schiller – Let Me Love You (ft. Kim Sanders)
03. Enigma – Smell of Desire
04. Blank & Jones – Desire (ambient mix)
05. Amethyste – My Acadian Heart
06. David Whaler – Bhakti Heart
07. Bliss – Kissing
08. Byron Metcalf – The Awakened Heart
09. Dyan Garris – Mystic Kiss
10. Peter Kater – Venus in Pisces

Album Review: Mystic by Al Conti

Al Conti is a Grammy-nominated recording artist whose latest album, Mystic, casts a seductive veil of enchantment upon a culturally rich and beautiful landscape. Beautifully packaged with artwork that visually captures the essence of the music just perfectly, the album’s nine outstanding compositions are likewise each accompanied by short stories that serve to further give the listener glimpses into the past. Conti wrote, arranged and performed the compositions, while two tracks (“Pilgrimage” and “Devotion”) were loosely based on traditional music that he arranged and adapted. Composed within a style that could perhaps be described as new age world fusion, the album draws most notably from Mediterranean, Near-Eastern, Persian and Indian cultural influences. A talented team of guest musicians throughout includes Grammy award-winning artist Ricky Kej, who serves as associate producer as well as lends additional programming, keyboards and harmonium. Vanil Veigas likewise provides additional programming, keyboards and santoor. Also joining the lineup is Jeff Pearce on electric guitar, Charlee Brooks on vocals, Pamela Copus (of 2002) on harp, Karthik K. on tabla, Butto on flute, and Jenevieve D’Silva on ghatam, cajon and assorted percussion.

“Mystic” opens the album with the solemn toll of a church bell followed by the reverent intonations of The Oxford Court Monk Choir. A stunningly beautiful introduction, it reminds me somewhat of the opening piece, “The Mystic’s Dream”, from Lorenna McKennitt’s The Mask and Mirror album. Jeff Pearce lends subtle brushes of electric guitar, as the soaring wordless vocals of Charlee Brooks join the monk choir – their voices collectively echoing among the halls of what feels like a vast cathedral hidden in the mountainous mists somewhere. An earthy and sensual rhythm comprised of both Indian and electronic percussion ensues, as the piece is carried along by a gypsy-like melody led by an arrangement of flute and other exotic instruments. “Trance” follows next and is one of my favorite pieces on the album, bringing to mind that of a night caravan trekking across the desert, as brushes of chimes remind me of twinkling stars spread across the sky. This piece is likewise supported by an earthy, sultry rhythm accentuated by Indian tabla drums, and showcases an exquisitely exotic melody comprised of santoor and harmonium. The more contemplative sixth track, “Contemplation”, is another favorite of mine which incorporates a distinctly Celtic flavor, blending ancient western and eastern musical influences to perfection. Showcasing Pamela Copus on harp, she leads the lovely composition with a lulling melody among a luxurious arrangement of instruments that include tabla, santoor and electric guitars. Another personal favorite is the seventh track, “Ritual”, which is dominated by an encompassing rhythm, as it seemingly paints a picture of festive lights and ecstatic dances by the Mediterranean seashore. Wrapping up this magical, mystical journey is the soulfully shining yet soothingly serene “Anima Aeterna”, which concludes with Charlee Brooks singing among of sea of both exotic and orchestral instruments.

Sensually imbued with a haunting mystique, Mystic could easily serve as the perfect soundtrack to an Arabian Nights tale. For comparison’s sake, those who are especially fond of more world-flavored works by Chris Spheeris, David Arkenstone and Loreena McKennitt are almost certain to relish this album as well. The music herein is earthy yet fiery, making the album a perfect companion for sacred dance and ritual. While listening to these breathtaking compositions, images frequently came to mind of temple dances, candlelit chambers and travelling nomads in the desert. A luxuriant weaving of cultures veiled in mystery, ecstasy and sensuality, Mystic is exemplary of new age world fusion at its finest! ~Candice Michelle

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

Album Review: Timeless e-Motion by Jim Ottaway

Jim Ottaway is an Australia-based electronic music composer with an impressive catalog of recordings that range from ambient-space to chill-out electronica. While his latest album, Timeless e-Motion, combines stylistic characteristics of both, it’s also a bit different from anything Jim has previously recorded. Namely, he employs greater elements of classic electronic space music in the vein of Tangerine Dream and Jean-Michel Jarre, all while infusing his compositions with a wholly up-to-date and modern feel via his vast arsenal of electronic music equipment and gear. Comprised of thirteen tracks spanning sixty-five minuets, the album was recorded, mixed and mastered by Jim between the years of 2013 and 2016.

“Sequence of Life” opens with a dynamic and rhythmic arrangement of sequencers and pulsing effects. A fantastic introduction, it conveys a feeling of moving through space and time. Following next is the hauntingly beautiful “Timeless e-Motion”, which gently paces along on a dreamily floating, liquid-like current. Easily my favorite piece on the album, hazy tones, scattering chimes and vocal-like washes are carried along by a hypnotic bassline and rhythmic pulse, which gradually evolves into a subtle chill beat. Digital bleeps and signals echo throughout, as if emanating from somewhere deep in the galaxy. At just over eight minutes in length, this piece could easily drift on forever, perhaps while one endlessly tries to solve the infinite mysteries of our vast and largely unknowable universe. Varying between the more dynamic, travelling pace of the first track and the floating ambience of the title track, the compositions always seem to move in a linear, forward motion. Each employs a varied degree of digital sequencing, synthesized vocals, spacey signals and pulsating electronic rhythms. The seventh track, “Behind Close Eyes”, is another especially notable and mesmerizing piece, which effectively brings to mind that of being in virtual reality or dreamlike simulation. Despite these distinctive sci-fi motifs, the compositions herein convey human warmth and a conscious presence throughout, as if musically illustrating a narrative of the cosmos and how it relates to life here on earth. Another favorite is the twelfth track, “Cosmic Shift”, a classic ambient-space number characterized by ethereal chords, sparkling chimes and a wondrous sense of mystery, as one can easily imagine numerous constellations of twinkling stars against a stark midnight sky. Aptly concluding the album is “Timeless e-Motion (radio edit)”, which clocks in at just over five minutes, lending itself as a sort of reprise of the title track to wrap-up this fantastical cosmic journey.

Jim Ottaway’s previous album, Southern Cross, was one of my favorite recordings of 2016 and this one is surely destined to become another. In fact, Timeless e-Motion may very well be the best output from this amazingly talented artist thus far, unquestionably solidifying Jim’s place as a distinctive and innovative electronic music composer. Fusing ambient, modern electronica and classic space music, I can detect several decades of musical influences here, as Jim masterfully carves out his own sound and style that he has both developed and gradually improved on over the years. Lending itself to an emotive sci-fi quality, the music of Timeless e-Motion conveys a mesmerizing notion of having entered some futuristic parallel dream-world that’s dominated by themes of hyperspace, wormholes and time-travel. Likewise permeated by an ever-present and intangible mystery throughout, this album is both an interstellar and inner voyage that’s absolutely not to be missed! ~Candice Michelle

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

Album Review: The Recognition by Art Patience

Having life-long experience playing the harmonica, Arizona-based musician Art Patience originally hails from a background in blues music. His debut album released on Heart Dance Records, titled The Recognition, not only offers something quite different from anything he’s recorded before, it’s also one of the most uniquely enchanting recordings I’ve heard in recent memory. Comprised of nine beautifully spellbinding compositions, Art imparts a soulful sultriness via his harmonica-playing among dreamily ambient soundscapes, which have been crafted by producer John Herrera, who also arranged, mixed and mastered the album. Art likewise plays acoustic guitar on several pieces, while guitarist Darin Mahoney also lends his talents on two compositions, including the fourth track, “Flight of the Butterfly”, and the seventh track, “Safe Journeys”. Upon first glance, the harmonica might seem like a rather unusual instrument to combine with ambient music, but this rare musical synthesis clearly works to perfection here.

“Compassion” opens the album with subtle acoustic guitar, as Art’s haunting and reverberating harmonica glides upon an enveloping soundscape of synthesizers that highlight many spacious notes and expansive chords. Seemingly lonesome sounding, I have always found the harmonica to be an instrument of solitude, and that essence certainly comes through on every one of these lovely compositions. The next track, “The Wishing Well”, is one of my favorite pieces on the album, initially beginning with the tranquil sound of the ocean’s tides rolling in and out with lone harmonica in the distance. A droning and resonating atmosphere enters the space, and I’m reminded of being on a beach as a darkening sky encroaches. A billowing, muffled rhythm soon follows at a gently parching pace, seemingly transforming the scenery into an overcast afternoon, in what feels like a confluence of nature’s power and serenity. Likewise, several other compositions feature audio-visually stirring environmental and nature sounds, including that of thunderstorms, running water and birds in the wild, as well as many ethereal textures and chimes sprinkled throughout the musical landscapes. These elements are especially exemplified on the aptly titled sixth track, “Spirit of the Woods”, which is comprised exclusively of lush environmental sounds and improvised harmonica intonations. Seemingly evocative of nature’s purest elements, it’s easy to imagine a man alone with nature in search of peace and solitude. Perfectly concluding the album is the gorgeous title track, “The Recognition”, a characteristically more spacey and nocturnal-sounding ambient piece that additionally features deeply hued and reverberating piano notes, as Art’s harmonica seemingly echoes throughout a vast terrain beneath a star-studded sky.

The Recognition is easily one of the most uniquely intriguing albums I’ve heard recently, boasting beautifully surreal soundscapes full of warmth, depth and mystery. Like an aesthetically alluring contrast of sorts, its compelling fusion of harmonica – an instrument that brings to mind the more arid regions of the mid and southwestern United States – in tandem with the dreamily liquid ambience throughout, felt perpetually evocative of a tranquil oasis in the dry desert. An outstanding work in its entirety, The Recognition will surely appeal to a wide range of listeners, although particularly those with a taste for gently understated though melodic ambient music! ~Candice Michelle

For more information please visit the artist's website. This album is also available at Bandcamp and Amazon.

Album Review: Ethereum by Joseph L Young

Joseph L Young is a world-flute master and keyboardist. His fourth album, Ethereum, is comprised of twelve beautiful compositions that showcase his multi-instrumentalist talents and keen ability to tap into the essence of music from various cultures. Among the instruments Joseph plays are Native American flutes, Chinese flutes, South and Central American clay drone flutes, Irish pennywhistle, and even Saxophone on one track. These exotic elements are deftly interwoven among indigenous percussion and atmospheric synthesizers, thereby lending an overall shamanic and trance-inducing quality to several of the compositions.

“Wavelength” opens the album with hazy tones and suspended chords that envelope a subtle flute melody. Serene and warmly-lit from the very first note, this piece brings images to mind of an afternoon sunset casting its beautiful glow over a rocky desert terrain. The title piece, “Ethereum”, follows next with a native-style flute that seems to echo throughout a vast canyon. This hauntingly beautiful and slightly forbidding ambient flute piece is likewise accompanied by droning synths, rainstick sounds and washes of chimes, which seem to evoke a sacred semblance of channelling an ancient wisdom or unveiling of hidden secrets. The comparatively lighter and more gossamer “Shimmers” ensues with Celtic harp and Irish pennywhistle, a delicate piece that conveys a fairytale-like medieval or renaissance flair. Changing scenery once again, “Boundless” begins with a low rumble and slithering sounds that introduce native-style flute and reverberating, slow-paced percussion, as hypnotic vocal intonations are echoed among its cavernous ambient soundscape. It is followed by the notably intriguing “Illumination”, a radiant piece that evokes images of a watery cave illuminated by sunlight pouring through. Here, piano and flute exchange dual melodies among a backdrop of chimes, Udu drums and atmospheric synths. Exuding both Celtic and Chinese overtones, “Free” is another piece particularly worth noting, which features vocals by Lenise Redding who sings a bewitching and mystical melody. Concluding the album is the beautifully nocturnal “Sapphire Moon”, which is guided along by subtle percussion and occasional shooting star effects, as a chorus of flutes seem to gently serenade the moon.

Brushed by colorful hues of various cultures throughout, it’s easy to slip into a deep zone while listening to this album. I’m especially fond of the many echoing effects and intricate textures throughout these beautifully relaxing and soulfully rejuvenating passages. With similarities that could be drawn to works by Scott August and Al Jewer & Andy Mitran, Ethereum is a wholly rewarding excursion into ethno-ambient flute music! ~Candice Michelle

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