Have you seen the new layout on radio website Live365? To celebrate the site’s 10 year anniversary it has received a total facelift.

When streaming radio you get to see the album cover, and a link to buy the actual song is also provided. You can also access NewAgeMusic.nu through Live365.

So yes, this is a very nice upgrade from our friends at Live365. Now you can enjoy New Age Stars even more. Click here to visit our station page.

We all are dreaming about finding our very own paradise, a place where we can relax and enjoy nature at its best.

One man who obviously has found his paradise, is Mike Oldfield. He is currently enjoying some well-deserved quality time in the Bahamas on his boat. Getty Images has quite a few recent pictures available of Mike Oldfield. Also make sure to read Mike’s wife’s Bahamas diary on fanpage Tubular.net. 

As a longtime fan I must say that I am so happy to see him with a smile on his face.

(Never forget that our music genre has lots of album with the paradise island as theme).

What is a summer without warm summer nights? One of my favorite summer albums is David Arkenstone’s Caribbean Nights, released last year. It was not his first album with the Caribbean theme – but on this album he joined team with a real steel drum player, Clinton Crawford. Arkenstone said that his goal was to create an album that “Makes you feel like you have a drink in your hand, and your toes in the sand…”

Only by looking at the first few titles on the album we can sense what Arkenstone has in store for us; Sunset Cruise, Enchanted Night and Midnight Moon. It is all about easy living and happiness. My favorite song on the album is track eight, Sandy Toes, where the steel drum sounds truly sweet together with the flute and guitar. A truly beautiful mix. All songs on the album are a little over 4 minutes long, which give the listener time to enjoy the melodic elements without rapid shifts.

Caribbean Nights is both chill out and new age music in style, simply perfect for those lazy summer days we all just love. Isn’t it great that there’s things in this world that are just sunny, laidback and positive? Caribbean Nights is simply the perfect summer soundtrack.

Sample the album on Amazon or buy it at Arkenstone’s own web page.

Fox News has posted a video interview with Peter Buffett. Topic is of course his recent book, music – and of course – money. See the interview here.

Now over 1.000 people have become fans of our web radio channel Sky.fm/newage on Facebook.

We are so happy to see you all here  – and please leave a message for the friendly community of listeners.

Bruce Kaphan from California has taken pedal string guitar to a whole new level in New Age music for years, making this instrumental transition not only a surprising one but a dazzling one too, giving even music purists a reason to love pedal steel guitar with his earlier release Slider and now Hybrid.

Bruce Kaphan is easily recognized in the music industry since he began an early career as a studio technician, engineer and producer for many highly recognized artists in other genres and had either played a role with the recording production of their album or performed with artists such as REM, Jewel, The Black Crowes, Thomas Dolby, John Lee Hooker and a vast selection of popular musicians.

The list of popular artists Bruce has encountered as a musician and during his tenure as a recording artist is quite lengthy and will surprise you as it did me when you visit his website. During the early days while living in San Francisco he was also a member of Indie / Alternative band American Music Club plus his music has been featured on many film scores and television broadcasts.

Hybrid is his current album that I recently wrote a review about here at New Age Music World. The 12 original compositions show pedal steel guitar as an appealing choice while clearing a new path of creative improvisations in light ambience and emerges as a natural contender in the vast field of music.

Bruce Kaphan and his music is described below in my review quote, along with the song video of Oregon Fire from the Slider album. This is a nice selection of Bruce performing on pedal steel guitar behind a backdrop of beautiful photography by Nick O’Kelly. Visit brucekaphan.com website to sample / purchase his music or visit his CDBaby.com page. Read his biography page and view his collective discography page. Read my review of Hybrid on our page dedicated to Bruce Kaphan. Studio photo copyright Bruce Kaphan courtesy of James Saxon

Bruce Kaphan makes a bold statement on Slider and current Hybrid album which features pedal steel guitar as the primary instrument. You will find his music is a unique blending of unrivaled beauty freshly harvested from another cross section in the vast field of music. It quickly becomes apparent this new emerging beauty will remain a lasting entity in the world of music.

Music and Movies are two of the most popular internet search terms used today.  These two forms of entertainment by themselves are enough to spark our interest alone yet when audio and visual productions are merged into a movie soundtrack, film score or popular music video, the results achieve an even more exciting sights and sounds experience.

David Mauk from Las Vegas Nevada is a composing performer with plenty of experience in the entertainment business while advancing in popularity from his 12 Months debut released in 2009.  His first album created much excitement for many and equally so for David since 12 Months received nomination at ZMR for Best Electronic Album and also earned David a Best New Artist nomination for the year. 

Ground Swell is his 2010 release, unique not only by the great mood effect of his classic yet easygoing electronic compositions but some songs were inspired by American realist painter Edward Hopper and Ground Swell is a CD / DVD collector’s edition that beautifully captures the early American century with Cinematic drama and makes a nice collection by any standard.  The 5 bonus video clips are nicely correlated with his unique brand of classic electronic music and are a beautiful addition to the audio CD since the extra sensory effect of video makes it easy for anyone to visualize his ambient music becoming a modern times movie score.

The National Geographic Society has already realized the dynamic effect of his compositions by integrating as their official music with many exhibits including King Tutankhamun, Golden Age of the Pharaohs, Real Pirates and Cleopatra museum exhibits, in fine music that enhances the experience for every museum visitor.

David Mauk has given everyone 2 excellent reasons to appreciate his music in 2010.   The Ground Swell CD alone is a free flowing natural display of bright ambience offered with a harmonious and casual impression, plus the DVD greatly points out the Cinematic enchantment that makes his music special.

Ground Swell is in effect an Ambient, Electronica, New Age album with a total of 14 songs.  The 5 song descriptions I will provide from the CD are ones also listed on the bonus DVD, in this all inclusive CD / DVD collection and you will find the 9 additional songs are sequential to the atmosphere and ideals this album in entirety represents.

Dawn in Pennsylvania has a singular piano melody backed by a deeper synthesizer profile that gives depth to the overall bright and casual mood and is effective at producing a story line of realism by a light atmospheric point of view with cymbal taps and percussion enrichments.   Summertime is like an ode of joyous celebration the summer season always represents, marching right along in attitude by a majestic piano movement.  Lower piano octaves maintain the rhythm while upper ranges move up and down the scales in half steps while bell tones ring in the seasonal event.

Chop Suey relies on tenor drum and percussion rhythms as a prelude to keyboard producing the light staccato note melody with a casual feel.  During refrains the dynamics are rearranged to a deeper tenor and nicely embolden the song while adding tonal drama.  Queensburo Bridge carries nice rhythmical metrics by strings subtle back and forth sway while light synth notes and key changes introduce sparkling overtones into the melodious theme.

New York Movie is a dreamy song that transports you to a different place and time with strings becoming the prevalent character in the lighter melody.  Percussion plays a more indirect role by sharp woodblock notes and when xylophone enters, the soft percussion detailing projects nice sparkling tones in a secondary rhythm.

David Mauk made 12 Months an impressive introduction into New Age music.  Ground Swell is another fine classic that makes musical entertainment an even better experience, offering his appealing to the senses experience like the premiere attractions many people are searching for at this very moment.

Visit the davidmauk.com homepage and then sample / purchase on his music page.  Learn more about David at his MySpace page and then our pages dedicated to David Mauk.

Cover art copyright Kelly Stamblesky – Smith. Picture copyright BigStockPhoto.com – Ondrej Garaj

Steve Orchard is our interview guest today at NewAgeMusic.nu & NewAgeMusicWorld.Com and we welcome our visitors and Steve’s fans to read the recent interview John Olsen has prepared with this outstanding musician.  We invite everyone to learn even more on our pages dedicated to Steve Orchard.

John :  Thank You for sharing a moment of your time with us today Steve.  B.T. Fasmer and I appreciate this opportunity and I am certain your fans are excited to have this chance to find out more about you too.  Steve, would you provide a timeline description of your music studies beginning with your earliest introduction to the present  ?

Steve Orchard :  Yes, Well I probably go back to piano lessons at 7 years old and then combining guitar lessons at 8.  My one fault would be that I have always been an impatient, inquisitive player of various musical instruments always wanting to discover how things worked quickly and then improvise.  As my Father would say, “Jack of all trades and master of none”.

I played a pretty mean trumpet in the school band and enjoyed singing in the church choir.  My family was very musical.  I had an aunt who was a piano teacher.  When she regularly visited us, from Birmingham, she would want to hear my progress.  She once nearly keeled over when I produced the sheet music for What a Day for a Daydream by The Lovin’ Spoonful ! Outrageous !!!

One side of the family were very properly trained with piano & violin playing and into classical and show tunes, whereas my other granddad was a pub pianist.  He ‘vamped’ and ‘boogiewoogied’ his stuff and played harmonica at Christmas parties…. It was hilarious when I think back.  It seemed to me that he was more joyous in his approach to music.  It’s a belief I still hold today that made me a little rebellious in my approach to making my own music.  At an early age I bent a wire coat hanger so I could play harmonica & guitar at the same time, just like Dylan & Donovan.  It only resulted in me nearly losing an eye and breaking a tooth.  I was the school ‘show-off’ doing plays & pantomimes and guess I fancied a career in something to do with the performing arts.  Like most kids I was influenced by the pop of that generation.

 I was into that ‘Hippy’ thing and meditated, burnt incense and read a lot of Buddhism….

Steve Orchard

In my teens I enjoyed the diversity of progressive rock, like Yes & The Moody Blues, also the gentle folksy guitar melodies of Joni Mitchell, James Taylor, plus the piano troubadours Billy Joel & Elton John & also, the early electronic sounds of Tomita & Mike Oldfield.  I was into that ‘Hippy’ thing and meditated, burnt incense and read a lot of Buddhism…. Took myself a bit too seriously!  I was a bit of a ‘geek’ and lived for my music writing little tunes with terrible pretentious lyrics from about 15, spotty, years old.   

John :  You are a member of the Medwyn Goodall circle of friends as a MG Music label artist.  Can you tell us some of your experiences as a member and what it is like to be a MG Label artist ?

Steve Orchard :  I first heard Medwyn Goodall’s Druid in the July of 1991, in an art gallery in St. Ives Cornwall.  It just blew me away and couldn’t put it in any category that I recognized.  It was more than music… It was an awesome soundscape and I just knew that it fit me like a glove.  I bought it instantly from the gallery on cassette, to play on my ‘state of the art’ Walkman!!  When I returned from my holiday I bought it again from New World, on CD.  And so began a long period of buying up anything to do with Medwyn Goodalls music.

My wife Julie & I started to correspond with Medwyn and he graciously autographed all our CD’s.  He was very open and quite funny.  I’ve kept everything he ever sent me, every doodle and every ditty, including all the Christmas cards ( worth a fortune on Ebay …. only joking )  In our early letters ( this was before emails ) I never told Medwyn that I was a musician, thinking that he may feel I was “chasing my own ambitions”…. unthinkable I know but musicians have been known to do it !!!  ha ha ha

I think I broke the news very humbly, without wanting to sound ‘pushy’ and tarnish this rather lovely correspondence that we were enjoying. He invited me to send anything anytime …. WELL !!!  Boy, did I send him some rubbish, poor guy.  I hadn’t found my NEW AGE feet yet and although I enjoyed this new genre, I couldn’t quite capture it in my own compositions.  He was my mentor, DEFINITELY.  He guided me, no doubt, to where I am today.  After a few stumbles, falls, and many experimental tracks, I sent a track called Lull in The Storm from something I was working on called The Consequences of Kisses album.  He invited me to produce a new project for MG Music !!!

You can imagine that this was a dream come true.  To be working for the man that I had held in such high esteem for so many years.  I soon discovered the family at MG Music is a wonderful bunch and all the other artists swap ideas and tips generally between us.  The amazing Paul Sills soon became a great friend & Charmaine, his wife & Meina, his daughter, travelled down to spend an enjoyable weekend with us.  We had discussions late into the night and played each other’s new or experimental tracks whilst the rest of the world slept.

I realize how unpretentious and genuine all the MG artists are.  Chris Green and I talk on the phone regularly ( very clever & funny guy ) then Simon Lovelock & Clifford White have spent ‘time out’ to critique and give ‘sound’ advice, both brilliant technicians of the art.  In the past I have found musicians to be very protective and guarded with their work but not here.  The wonderful thing is, we are all so different and diverse yet all the same family, producing a vast mix of choices within the same genre, all under the safe and knowledgeable direction of the man himself, Medwyn Goodall.  Be warned budding New Age composers, he will not accept second best on his label. 

 John :  In your own words Steve, how would you best describe your music and what are the main components that uniquely sets your music apart from not only MG label artists, but so many other New Age musicians  ?

Steve Orchard :  My music almost always originates from a guitar base and is then transcribed onto keyboards.  I find the guitar a comfortable friend that I can embrace quietly without any sense of rushing to ‘lay down’ on paper or in the studio.  Sometimes I live with a melody for months before it develops into a workable phrase or shape.

I have a terrible bad habit of not documenting tracks I have recorded. I have folders, in my studio, bursting with hastily scribbled chords and lyrics…. Someday I may return to them for inspiration, that’s if I can decipher them, but I hate going back.  I prefer to always look forward with my writing.  In the making of Raindancer I did a lot of research into the South American rainforest and I story boarded ideas & concepts onto the walls of my studio.  Another strict rule I have is I never ever go into the studio unless I am in a happy, contented mood.  I like to think that when you listen to a Steve Orchard album that, my positive optimism shines through.  Sundancer was almost entirely written in my garden during the summer of 2009.  It’s sunnier than a ripe melon !!!  As Medwyn says, it has lots of energy & warmth.  I think his buzz word for the album was ENERGY !! 

John :  During the early years in Bristol your music was played on BBC Radio and utilized in music scores for various media programming.  In what ways has your music been featured  ?

Steve Orchard :  It seems like a life time ago now but in the 70′s I was in a very popular duo of the time called Mossy, with musical partner Barry Webb ( he’ll be pleased I mentioned his name. )  We played a residency in the cellar bar, at the notorious Bristol Arts Centre.  It was a mixture of folk covers and our own written ‘offerings’.  We earned a lot of respect locally and had a loyal following amongst the local artists, musicians & regional TV personalities ( I seem to remember being invited and attending a lot of crazy parties )  We were also good ‘fodder’ for the colleges and festivals.  At that time we did 3 half hour shows for BHBS radio which led to a spot on BBC’s Friday Folk Nights.  BHBS were still playing the jingle we did for them up until a few years ago ( probably when the tape finally disintegrated ) We had a lot of fun but mutually called it a day in 1980 when we both had growing family’s.  We remain great buddies.

Unbelievable now with all this technology, that I sent out my first demos on ‘spool’ tape.  Perhaps most ended up in the bin but one hit home and I was invited up to Apple’s old offices in St. James Street London for an interview/audition.  They gave me a good look over and I felt optimistic but, sadly nothing ever became of it.  I still have the letter though, dated 6th September 1972 and at the bottom are the printed names of the two directors…. Yes, you guessed, J O Lennon & G Harrison.  In the ’90′s I was asked to do the incidental music for ‘Star Runners’.  It was a short promotional sci-fi film directed by  Andrew Dymond who, I believe, went on to produce ‘Star Hyke’ which was sold to American TV.  I wrote about an hour’s worth of instrumental music but only half of it finally reached the finished movie….. My son Daniel & I had a lot of fun going on an all night shoot for the film, eating Mars Bars and drinking Coca Cola all night to stay awake!!  The studio day was also fun where we recorded my work, with the help of a prehistoric sequencer, onto video tape and mini disc ( very nostalgic )  Later, with the advent of Channel 5′s birth I was asked by an agent to go up to their TV studios in London to perform one of my own compositions for a forth coming daytime TV show, which I did….. The day flew by in a blur and all I can remember is the hideous cost of car parking on the Tottenham Court Road…. Scandalous !!!

… and I was invited up to Apple’s old offices in St. James Street London for an interview/audition.  They gave me a good look over and I felt optimistic but, sadly nothing ever became of it.  I still have the letter though, dated 6th September 1972 and at the bottom are the printed names of the two directors…. Yes, you guessed, J O Lennon & G Harrison.

Steve Orchard

John :  You were a band member earlier in life and in addition, widely recognized as a soloist in South West & London England during the 1990’s.  Could you tell us about this time period of events you experienced and I just imagine there are some good stories you could tell everyone  ?

Steve Orchard :  Blimey… How long have we got ?  I worked a lot. Mainly covers for the pubs, clubs, hotels and summer seasons at holiday parks.  I also did gigs for Army & Navy bases.  If you are into performance then it is an incredible apprenticeship.  You learn a lot about audiences.  I spent 8 consecutive New Years Eve’s away from my wife & kids entertaining 1000′s of drunken party people.  When the nights success relies on only YOU…. that’s quite a responsibility ( oh and the bingo & raffle )  I performed all over the South West with 3 nighters in London gigs sleeping in theatrical digs above a pub (not something I can recommend)  It’s like an athlete.  You build up muscles.  You know when to be funny and when to keep your mouth shut!!  ( Did I mention I did stand-up ?  Don’t do it if you want to retain your sanity ha ha ha !!! )

I’ve known great musicians who were lousy entertainers and great entertainers who were rubbish musicians.  In 2001 I realized that this was not what I wanted to do anymore.  I wanted to return to my roots which was writing & recording.  It was in my heart and the only way I could ‘look at myself in the mirror’ as a serious musician.  Continually gigging, performing other people’s material makes you slightly morose and can leave your creative side sadly lacking.  True, I do miss the adrenalin rush of an audience but what I do now feels right for me and hopefully my audience is out there still enjoying my performance.

John :  Recently I wrote a review for Raindancer and have made plans to review Sundancer & Moondancer when released.  Could you tell us more about your Dancer Trilogy and what each individual album illustrates  ?

Steve Orchard :  Yes, they are companions to each other.  I hope my listener/audience hear Raindancer and think, ” Wow!  I liked that I’d like to taste some more of that.”  Raindancer is very jungle/tribal with some twists and turns in its rhythm’s.  I had this picture in my mind of cutting ones way through dense foliage to find a clearing populated by remote civilizations ( does that sound crazy ? )  The indigenous animals and fauna were all playing a part in my composing.  Raindancer is where I discovered my New Age capabilities.  With the generous direction of Medwyn, I am proud of this album.  Sundancer, as I mentioned is all about energy.  Islands in the sun and deep tropical seas yet cooling sounds in the midday heat.  Rhythms play a big part of this album also and will make people want to move and children dance.  My youngest son David is a gifted illustrator having produced many published children’s books has preliminarily designed both, Sundancer & Moondancer album covers.  Obviously this is still to be confirmed but his work on all my other albums can be seen on my website.

Moondancer …. Is still under wraps.  Suffice to say, this is the cool of the evening.  The Moon is out in a cloudless night and a billion stars lead us to imagine what life could lay beyond them.  This album is entirely recorded on my new studio and at this date still has to be completed but I have some ‘can’t quite keep still’ ideas in my head.  I would just say, “Watch This Space!”

John :  There is a lot of great instrumentation on the Raindancer album.  In addition to acoustic guitar what are the instruments you play, and recently you told me about an upgrade to your project studio, so could you tell everyone the story behind this recent upgrade  ?

Steve Orchard :  Raindancer is a completely ‘live’ album.  By that I mean that it is layered onto a hard disc in the same way as working with analogue ‘tape’.  That’s not to say it suffers from any sound quality but I felt I needed to embrace a tiny bit more technology going forward.  My main keyboard friends are my trusty Korg Triton & Roland Sonic Cell, with expansion boards, plus some other concoctions!!!  Anyways on with a story…

By now Medwyn and his lovely wife Wendy had become my good friends.  He invited me down to his home in Helston, in Cornwall, for a visit and to look at his studio with perhaps, an insight into the more sophisticated way he works.  WOW !!!  I only say that because a lot of your fellow members and readers of this site will be saying WOW !!!  He was considering completely re-building his studio and giving me the opportunity to ‘adopt’ & ‘adapt’ his studio.  This is ‘THE STUDIO’ which is responsible for selling over 4 million albums.  It was January and the worst winter the UK had seen in 30 years.  I was doubtful whether I would be able to make the journey as heavy snow had fallen over most of the South West.  I travelled the day before our meeting and the journey was a little ‘hairy’ ( that’s a British expression for OMG !! …. another icey patch!!! )  I just had to go and meet this man face to face. He had a reputation for being ‘very private’ and not conceding to personal visits to their beautiful Cornish home.

I have to say, that information could not be more wrong.  From the outset he was warm and friendly, and we spent the long day in his studio exchanging much humor and banter.  I felt relaxed in his company immediately.  To be sat elbow-to-elbow in the studio with him was an unforgettable experience.  Such ease of understated talent was remarkable ( no, not me, him…. only joking ).  Wendy arrived home from there very busy offices and warehouse in Helston and they were gracious enough to take me out for a memorable meal that evening.  Suffice to say, I returned the following day with the ‘HEART’ of Medwyn’s studio and since then have amalgamated it into my own studio I think, really successfully  ( you will need to wait for the completion of Moondancer to make that appraisal )  I personally can’t wait… It’s going to be special !!  

John :  On behalf of our visitors and your fans we Thank You again Steve.  Before we go is there anything you would like to bring up or tell your fans  ?

Steve Orchard :   I have made so many friends all around the world with the release of Raindancer.  It has been a privilege to be able to share my music at last, with so many enthusiastic people.  This is what encourages us composers to continue to ‘up our game play’ to continually raise the standard, stretch, and find the best we can be.  In the spirit of all MG Music Artists I will always try to answer all emails and help other budding musicians in their quest. Everything is possible.  It has been a long journey but I still feel opportunities lay ahead of me.  So many friends & family ( my closest love & confidant Julie, my wife of 31 years….  She’ll be pleased I mentioned her name again! ) have supported me over the years even when I may have floundered….  A good friend once told me, ” The thing with you Orchard, is that you are PERSISTANT ” Oh Yes!”…. & keep smiling !

Visit the steveorchardmusic.co.uk homepage right here. Sample his album at his music page and learn more about Steve on his biography page. Visit his MG Music profile page to sample / purchase then learn more about every MG label artist at the mgmusic.ltd.uk website.

Sundancer & Moondancer covers by David Orchard. Raindancer cover by Medwyn Goodall. Other pictures copyright Steve Orchard.

The new Dancing with the Lion-Orchestra will on August 21 celebrate the 30th anniversary of Andreas Vollenweider as an artist!

The beautifully picturesque setting at the border of the Lake of Zurich is the backdrop for this event. The music of the three centuries of the Vollenweider-Sound, between Behind the Gardens, Dancing with the Lion and AIR, is being played by the extended Andreas Vollenweider & Friends Orchestra. It is now thirty years since Vollenweider started, and still he enjoys a large and faithful audience. Note that this will be the only concert in Europe this year.

Read about ticket prices ect. on Vollenweider’s homepage.

The newspaper Hamptonroads.com has an interview with Peter Kater and Nawang Khechog who have recently completed their tour.

First question out is:

Hamptonroads.com: When you helped start the New Age movement, were you consciously trying to start a new musical genre?

Mr. Kater: Absolutely not. I’m classically trained and I grew up listening to pop and rock and Top 40 music, but I was a pianist and not really a singer. I just started improvising, and this style is what came out.

Read the whole interview here.

Now this is something completely different!

New Age Solo Pianist James Cahall has launced a free  iPhone/iPad Application featuring music, news, upcoming performances, photos, videos & more is now available on Apple iTunes.

With this you can stay connected with all the latest updates from James on your iPhone and/or iPad.

Preview the app here.

We hope that you are enjoying the summer – with holidays and lots of sun! Here at .nu we are always looking for warm, sunny music. In the following weeks we will present the finest summer music our genre has to offer. But why not start with the best of the best?

Medwyn Goodall – Earth Goddess (2007)
You know me – I’m usually not a man of few words when it comes to music. But listening to Medwyn Goodall’s Earth Goddess always leaves me speechless. In Medwyn’s massive discography (he is represented on iTunes with more than 100 titles!) there are so many excellent albums. But for me Earth Goddess is special. It has to do with my love for the sunny island theme, and the fact that I feel that it is here new age music is at its very best.

Palms, blue water, white beaches, waves, a hot wind blowing, holidays – all of this gives good, happy feelings that our genre so well communicates through music. And nowhere in the complete new age music discography – from Tony Scott till today – is this more present than in Medwyn Goodall’s Earth Goddess. It is simply a summer new age music tour de force!

The six track long album was released in the early summer of 2007. It starts with the ultra light Amulet. The lush pads, echoed pan flute, the bright sounding piano and – after a tasteful build-up – Medwyn’s masterful el-guitar, are all elements that makes this into an unforgettable start of an unforgettable album.

Simply put; Earth Goddess is one of the best albums in the new age music genre.

BT Fasmer

Sungrass, track no. 2, is as laid-back as the title implies. This is music for a sunny day in the grass. The song has the same ingredients as track 1, but here Medwyn’s el-guitar is perhaps even better – sounding a bit like The Shadows’ classical el-guitar songs.

The next song out, Totem, is a song to worship; close your eyes and the dream island will manifest itself. The song has some of the best build-up I have ever heard – the middle part, at around 4min50sec and later, is just so interesting, so deep without being complex. The flute ending is simply breathtaking; I could listen to it all day.

Simply put; Earth Goddess is one of the best albums in the new age music genre. Its warm sound and pleasant atmosphere makes it to a modern classic, a masterpiece for the future. Do yourself a favor and meet the Earth Goddess!

Sample the album on MGMusic.co.uk. Available on all major digital music outlets.

Michael Cretu of Enigma has always made sure to use the latest studio technology available. In this way he has been able to produce new and fresh sounds, and each album is closely connected to the technology used.

The legendary Ibiza studio where the three first Enigma albums were created was called the Euphonix consol studio – or simply A.R.T. (you can see pictures of it here). On the latest albums Michael has used less hardware and more software synths, resulting in the Alchemist studio (see a comprehensive presentation of it here).

Now Michael Cretu has built a new and more compact studio which is called MERLIN (picture to the right). According to Enigmaspace.com:

“Merlin is not only a mobile studio, it fits perfectly to the way I am usually working. It can be seen at the intersection between playing, recording and mixing.” Michael Cretu says.

Similar to the Alchemist, Merlin combines the four key parameters of recording in one box: a computed recording environment, a modular hardware concept, a control surface and a surround monitoring system.

In the very center of the studio is an Apple Mac Pro 8-core with an 30” Cinema display – and of course the Logic Studio software. If you are interested in all the technical details, see here.

I think that all of this is fascinating – to a certain point. As a Michael Cretu fan of almost 20 years I’m glad that Michael is doing what he does best, with the tools he needs to create magical sounds. But I know for sure that he would create magic with almost any synth – for instance his old friends, Roland JD-800 or Korg DSS-1. But new is always better, right? .

Bottomline; We now know how the studio looks like; the wait for the new Enigma album can begin.

Also see Enigmamusic.com . Picture copyright Enigmaspace.com.

Davol is our interview guest at NewAgeMusic.nu & NewAgeMusicWorld.Com and knowing the positive nature of his music, we hope to create a little excitement of our own today.  Davol is a widely popular musician easily recognized by his Electronic Contemporary Instrumental melodies that readily elevate the mood sensation and their highly melodic rhythms in turn offer an inspiring upbeat atmosphere.

Davol’s music eloquently brings a positive and energetic influence to the forefront of New Age music and today we hope to encourage every visitor to learn more about him.  Review publicists B.T. Fasmer and interview host John P. Olsen have published earlier reviews of his current album Good Sign and we invite you to read these reviews on our pages dedicated to Davol.

John :  Thank You for sharing your time with us Davol.  Your April 2010 release Good Sign is an excellent album and another fine release of the 6 albums total you have produced since your decision to pursue music as a new career in 1989. 

Good Sign is successfully making waves with your large fan base and ZMR charts presently have listed at # 2 for May.  This is great news naturally, but I personally believe much more recognition may be in store for Good Sign.  What are your thoughts on the direction this album is heading and do you set out to win awards and earn top recognition  ?

Davol :  Although I always try to keep my music at a high standard, I was pleasantly stunned to see how this album has taken off!  This is the first time I’ve worked with the renowned promoter Ed Bonk, and it’s been quite rewarding.  Every aspect of a creative project is educational, including the promotional side.  As for awards, we’ll see what is possible …   maybe you could help me out with a Grammy nomination ? !      

John :  Hey, B.T. and I will see what we can do …. Lol !   What you said about Ed Bonk is true.  We consider Ed a good friend and hear the exact sediments from his clients all the time.  Everyone speaks pretty highly of Ed Bonk ( Lazz Promotions )

Your scholastic training in jazz, classical piano and harpsichord were early prerequisites in your move toward the more modern music influences you produce today.  Would you provide our visitors an outline of your studies and music history  ?

Davol :  When I was quite young I started with the trumpet.  But the monophonic nature of it frustrated me, so I became interested in piano at the age of 12.  I studied classical piano a bit, and harpsichord a little in college.  I’m actually now studying jazz piano with a local jazz master. It’s challenging and fun.  I’m probably his most remedial student, still learning the basics!  In a sense, I kind of feel like my compositional work exists very separately (in my brain and heart) from my previous musical training. Obviously there is some kind of relationship and influence, but I really feel like the electronic music I write is more influenced by my love of pop music.

John :  You have a PH.D and had begun an already successful career as a medical researcher and microbiologist until 1996 when you then chose to begin a commercial venture producing multimedia music.  What were the timeline of events that led to your decision to pursue music as a new career and was this career move an easy choice for you to make at the time Davol  ?

Davol :  Oh gosh no, it wasn’t easy.  I had worked so hard to become a medical researcher and get my doctorate, but I was also very burned out.  I was doing music professionally WHILE I was finishing my PhD in microbiology and continued doing both simultaneously over the years.  The problem was that to be a really good scientist, one must be very focused.  In other words, you work in the laboratory in the daytime, and you’re expected to read journals and write papers in the evening.  I wanted only to write music in the evening!  So there was sort of a mutual incompatibility with the two careers.  When I left science, I felt that I had learned a great deal and had published significant work.  That was satisfying.  I actually did return to science in the last 5 years, sort of in a roundabout way; I was a public health educator for a Hepatitis C non-profit organization.  I was giving educational talks about HepC, mostly to ex-convicts who were on parole.  It was a very unusual and educational experience.

John :  I read at your website that many of your albums are designed with a theme in mind based on events during the time period.  What themes are behind Mystic Waters & A Day Like No Other ?

Davol :  Mystic Waters was released in 1989, a time when “fantasy” albums were all the rage.  So, it was conjured up with that genre in mind.  There was a sense of peace and tranquility, a sense of fluid movement, like water. 

A Day Like No Other marked a pretty big change in my life, sort of a reinvention, as I hadn’t released an album for 7 years (since Open Book).  I wasn’t sure that I would do any more albums, frankly.  I was burned out and was now producing on my own label.  Also, ADLNO was the first album I ever wrote and produced without any co-producer.  In other words, I had to finally trust myself, in a very singular sense, and believe in what I was doing!  Also, ADLNO was the first album I wrote in a completely software-based studio environment, so the toolset and sound palette was utterly different from the past.  It moved me more into a guitar-based sound that I find very appealing for the pop-style in which I write.  So, the ADLNO album represented everything “fresh” and “new” to me, hence the name.

John :  Nice reinvention Davol since A Day Like No Other happens to be one of my favorite albums !  There were some particular circumstances happening during the production of Good Sign.  What was going on at the time and how did you maintain the Davol can do attitude  ?

Davol :  Yes, some challenging things …  a couple of close loved ones struggling at the end of their lives and passing on, I had to move my mother into a retirement home, find a home for her dog, empty her house and sell it, etc, and a 14-story high-rise was built directly across the street from my home.  That meant 1.5 years of incessant noise, my street closed off every day, etc.  It was overwhelming.  Oh, and I almost forgot, the interior of my house flooded, TWICE. 

Due to the construction, I ended up working on the Good Sign album in the evenings.  I would start work after dinner and finish at 2:00 am.  It was a very unhealthy lifestyle for about a year, but hey, I got it done!!    I think the album truly was my catharsis, so the focus was JOY, OPTIMISM, and POSITIVITY!

John :  After listening to several prior radio interviews at your website and it’s pretty easy to recognize you are a positive and upbeat person as you were saying and just like your music reflects.  Is it your intent to instill a positive influence into all of your music and just how exactly do you transfer a positive personality trait into musical notes  ?

Davol :  I guess I have always tried to keep a positive outlook in life. It’s easy to get wrapped up in the tedious minutiae of the day-to-day, but important to never lose sight of the fantastic gifts we all have.  Certainly I try to convey that optimism in my music, but hopefully without being cliché or trite. That can be a fine line, I know.  It probably sounds like a really old fogey thing to say, but I’m so glad that I was young when I was!  Fashion ads were largely about people with smiles on their faces when I was young.  Nowadays, so much of the advertising looks like a bunch of mean, unhappy people wearing sunglasses and deadpan looks – so much pretense and attitude.  I like the concept of “hope”, so I would never make a good Buddhist   

I think there is also often a slight tinge of melancholy in the music I write.  Sort of a mix of bright optimism blended with a small amount of “reality/regrets/disappointment/loss”.  I prefer that 90:10 mix.  I can certainly appreciate very dark music, it’s just simply not my forte to write in that genre, so I typically don’t.

John :  Yes, I love the dramatic notations you infuse into your work.  Has today’s technology made a big impact in regards to the way you have composed music in the past, and what electronic equipment do you use  ?

Davol :  Yes, definitely.  I work on a Mac, using the sequencing host Logic Studio.  My soundset includes instruments from every major software synth manufacturer.  I’m particularly fond of MusicLab’s RealGuitar product.  It’s the BEST for acoustic guitar strums that layer so beautifully with my synth textures.  It gives everything a wonderful energy and feel.  Using a software-synth studio has advantages and disadvantages, but I’ve chosen to simplify my life by not using any hardware instruments anymore.  I could never turn back now.

John :  Good Sign features a song called Truth 2010.  This is the first time you have made the Truth song available on CD and is the remix of your conceptual Truth Video that created a dramatic reaction among many people and considered political in nature.  How and why did you produce the Truth Video, and what where the political and competition events occurring during production  ?

Davol :  That was a creative vanity project that appealed to me at the time.  And I had never done a video and wanted to learn how to create and edit video.  Needless to say, THAT took a great deal of time, but was fun.  That was back in 2007 and there was so much political discontent in the US, that I wanted to take a few steps backward and comment on the fact that so much of our “reality” is based on media stories that, for all we know, may have very little to do with the truth.  If the past is any judge, everything should be suspect.  But we pick and choose, deciding that story “x” is reasonable and we believe it, but story “y” is crazy and we reject it.  We do this in history and have created a revisionist history that is written into textbooks.  If we know that about history, why don’t we view current events reporting with the same skepticism?  So, to return to your question, my focus wasn’t so much on the current politics of the time, but taking a glimpse at the last 100 years or so of US history, in particular.

John :  Do you plan to release more CD albums and song videos in addition to the current ones featured on YouTube, and I ask this half joking Davol, but do you consider yourself a political activist in a sense after the Truth Video ?

Davol :  No more politics! Read my lips!     I really want to focus on what I do best, simply write music.  And that is where my heart and head truly reside.  So, no more detours or distractions from the music.  Videos take so much time, that I don’t care to be involved in that either, although others are certainly welcome to consider such a project using my music – I’m open to that.  Albums are definitely my focus for the future.  As for CDs, well, they will soon be obsolete  

John :  It has been a pleasure to meet you Davol.  B.T. Fasmer and I will keep our visitors informed on the latest news about you so let’s keep in touch.  Before we go today, is there anything you would like to tell your fans or bring up that we haven’t talked about  ?

Davol :  I came so close to abandoning my music career before the A Day Like No Other album, that I just want to thank everyone over the years who has emailed me or left a comment on my Guestbook page.  It is truly those supportive words, stories of moments in people’s lives where my music touched their hearts that have kept me creating.  I thank you all, and hope to keep providing music that will intrigue and touch listeners in a meaningful way.

John and B.T. Fasmer, thank you so much for supporting independent artists and this opportunity to share with fans.

We encourage our visitors to learn more about Davol and the place to find him is his davolmusic.com website homepage.  Read his biography page and go to his music page to purchase / sample or at CDBaby.com page.  Then read our reviews of Good Sign at our pages dedicated to Davol.

One of this year’s most anticipated albums, Mewdyn Goodall’s CLAN III – The Lands Beyond, has now been released. You can listen to samples from it here.

The album Clan: A Celtic Journey came out in 1998 and is one of Medwyn’s most popular albums from the 1990s. The sequel, The Scroll, was released in 2000. So it has now been 10 years since we last heard music with that medieval sound that Medwyn does so well. When listening to it you can almost see the warriors and maidens, the horses and the castles. This music is a true treassure chest for anyone who loves fantasy and fairytales.

And that is not all; the album has been made in Medwyn’s new and upgraded studio! The complete Clan Trilogy is available here.

Good news to all Peter Kater fans; he will release a new album in September. Nothing much is known about the album as of today – but we will tell you as soon as we hear anything.

But while we are waiting; why not check out Peter’s tour schedule: lots of great conserts are coming up this July for our US friends! And also make sure to read his latest blogpost: called Unreasonable Happiness.

After the massive, totally overwhelming success of Tubular Bells (1973) the 21 year old Mike Oldfield had an almost impossible job; to make a follow-up. The whole world demanded a follow-up. A worthy follow-up.

Yes, Mike had an almost impossible job to do. But when he first got started, it was – to use a description which Mike would like today when he is living in the Bahamas - smooth sailing. Or to quote his autobiography:

Hergest Ridge was a real struggle to begin with, but having pushed myself to get started, it was like piling twigs on a fire. It took on a life of its own, with its own momentum, and it became self-sustaining.

Musically it was nothing like Tubular Bells. It had trumpets and tin whistles, all different kinds of influences that were in some ways echoes of the place I was living in, I suppose you would call them New Age sounds in today’s terms. I was running on nearly empty tanks when I was putting it together, but I managed to cobble together some kind of album.

Changeling - The Autobiography of Mike Oldfield
Virgin Books 2007, page 158.

Personally I hold Hergest Ridge to be among Mike Oldfield’s finest works, and a much more personal and intimate release than Tubular Bells. Just listen to the trumpets at 10 min 05 sec onwards and you’ll hear what I mean; Hergest Ridge is simply beautiful and heartfelt.

It was however not a new Tubular Bells, and for many of the 1970s record buyers Mike Oldfield lost actuality with this release. He was yesterday’s news.

We have seen re-releases of Hergest Ridge before, last time in 2000 when a Digital Remaster was issued. This 2010 Deluxe Edition features versions of the original record remastered by Mike himself, unheard demo versions, plus the mixes found on the vinyl version first released in 1974 – along with some nice DVD footage. Disc three also contains a very welcome 5.1 Surround Mix. As you can see there is also a new cover as Mike never liked the original cover (“this one was just a bit weird” - Changeling page 160)

Here is the Deluxe Edition tracklistings:

• Disc 1

01 Hergest Ridge Part One 2010 Mix Previously Unreleased 19:21
02 Hergest Ridge Part Two 2010 Mix Previously Unreleased 18:46
03 In Dulce Jubilo (For Maureen) 02:45
04 Spanish Tune 03:11

• Disc 2

01 Hergest Ridge Part One 1974 Stereo Mix 21:32
02 Hergest Ridge Part Two 1974 Stereo Mix 18:40
03 Hergest Ridge Demo Part One 1974 Demo Previously Unreleased 20:21
04 Hergest Ridge Demo Part Two 1974 Demo Previously Unreleased 18:13

• Disc 3 (the DVD)

01 Hergest Ridge Part One 2010 5.1 Surround Mix 19:20
02 Hergest Ridge Part Two 2010 5.1 Surround Mix 18:45

Note that there is also a digital version available on iTunes which contains disc 1 and 2 (everything except for the Surround Mix and footage).

The most interesting part of this release is of course the unreleased demos. I think they sound nice – but as with the Tubular Bells demos of last year you are not likely to listen much to them; they are weaker sounding and quite unpolished. But for true fans it is always nice to relive the construction of something noteworthy – so in this aspect it is well worth the price.

To sum it up; Hergest Ridge tells the story of a young man who has to do the impossible; to create something to equal Tubular Bells. It didn’t of course, but still it is always a welcome listen to the fan. Very much so. For years and years. And now, in 2010, we even got a new and much nicer cover and a 5.1 Surround Mix! To quote Mike:

I know I’m very unstable, and I probably always will be, but the point is that I’ve accepted that about myself. Hergest Ridge, on the other hand, is smooth, uncluttered. There are no tube trains, very few car doors, lots of open countryside, smooth hills, a general feeling of smoothness and wellbeing and non-hysteria, just a much nicer environment.

Universal Music has put together a very nice webpage here. And if you missed it on 1st of April: fanpage Tubular.net’s very own Hergest Ridge 2010 mix.

The United Kingdom based MG Music label has much to be proud of these days.  The 25 year anniversary for Medwyn Goodall and Clifford White alone is reason to celebrate, yet MG label artists Steve Orchard and Paul Sills also have excellent releases planned this year.  You will find the quality artisanship delivered by this close circle of friends is special with each artist retaining their own integral voice which to me makes MG label artists significant.

Steve Orchard is a New Age artist from the United Kingdom quite masterful at producing electronic instrumental music composed with many improvised mood sensations that nicely culminate into a repertoire of lively rhythms blended with a kaleidoscope of colorful melodies.  The end result is one singular voice implanting a vivid melody image right beside a natural and reposeful atmosphere.   

Raindancer is his current release and first in a trilogy series based in theme on 3 natural elemental word, with each in series containing the dancer suffix.   Sundancer & Moondancer are future releases and I can already tell you that his spirited dancer series illustrates a rare quality of relaxing yet energetic melodies that readily achieve universal appeal.  His prior albums Voyages Beyond Midnight, Salt Water Café & The Consequences of Kisses are highly regarded earlier works and certainly worth a listen too.

Steve Orchard made a great impression on me with his first in series Raindancer.   This admirable collection of beautiful melodies exhibit the standard of excellence and integral voice Steve Orchard so boldly represents, brightly illustrated by his picturesque first release in the alluring Dancer trilogy.

Steve Orchard is a prolific singer songwriter having composed and performed original music for many years on guitar, mandolin, and harmonica, various skin drums, piano and keyboards.  His music was featured on BBC Radio, film scores, local radio jingles, plus Steve was a band member in 100’s of concert venues with other artists and a well recognized soloist in South West & London England during the 1990′s era.

Raindancer begins the initial splash of bright colors painted on a fresh musical canvas in a vivid song portrait titled Tribal Fire.  The lighter vibrato in soprano vocals make the primary background shades to flute’s breezy hues, nicely accented by snare drum taps and free flowing rhythms.  Keeper of the Sacred Trees & Cajon Sun are enhanced pan flute and keyboard melodies attuned to light synthesizer bordering while percussion assists by even handed rhythms in a fine blending of tropical harmonies.

Acoustic guitar then takes a turn holding the primary melody brush in Cajon Moon, primed with a steady synthesizer outline backed by flute and tenor drum. Guitar and pan flute emblazon the impression by a faster tempo in free flowing songs Amazona, Pathway Through The Forest & Festival, with each song inscribing bright reflective patterns by progressive guitar rhythms, flute expressions and percussion cadences that portray a flamboyant resemblance.

Passion Flowers & Where Rivers Meet are compositions with airy Latin & World influences which make easy going songs by light flute notes dreamy ambience and gentle tracing by guitar strums having a soft percussion mix in the first, then tenor drum outlining in the second. Road to Manaus has a dreamy groove concept by light flute refrains intertwined with deeper keyboard and acoustic guitar that travel along a harmonic pathway together with even symmetry.  The orchestra phrasing with strings and resolute percussion smoothly enhance the delightful mood illustration in this song.

Anocondas Caress completes the colorful spectrum and gives one a chance to admire the total picture on this album filled with exotic surroundings.  In an exclusive move during composition, this song is quite captivating using two metrical rhythms where flute nurtures the primary melody while guitar draws on half step chord rhythms during a concurrent secondary melody, rising in chord phrasing to nicely elevate the tropical atmosphere. 

This beautiful song in proportion to the entire album is a nice exhibition of the integral voice Steve Orchard so boldly represents and in addition, sets the standard of excellence for his all inclusive Dancer Trilogy.

Visit the steveorchardmusic.co.uk homepage right here.  Sample Raindancer on his music page and learn more about Steve on his biography page.  Visit his MG Music profile page to sample / purchase then learn more about every Medwyn Goodall label artist at the mgmusic.ltd.uk website.  

Cover design and layout Copyright MG Music courtesy of Medwyn Goodall. Below Picture copyright Bigstockphoto.com – wtolenaars

Pedal steel guitar is a stringed instrument that often receives no respect in relation to New Age music in part because the instrument is often classified in the Country and Hawaiian music scene only, but believe me the ground rules have changed and is primarily due to one man.

Bruce Kaphan from California has taken petal string guitar to a whole new level in New Age music for years, making this instrumental transition not only a surprising one but a dazzling one, giving even music purists a reason to love pedal steel guitar with his earlier release Slider and now Hybrid.  The reason behind his new adaptation in an otherwise strict classification was pretty much the colorful sound quality it provides and a love of exploratory music.

What many find interesting is that Bruce Kaphan began his early career as a studio technician, engineer and producer for many highly recognized artists in other genres, where he either played a role with the recording production of their album or performed with artists such as REM, Jewel, The Black Crowes, Thomas Dolby, John Lee Hooker and many others.  During his early days in San Francisco he was a member of Indie / Alternative band American Music Club and his music has been featured on film scores and television broadcasts.

Hybrid is an album with 12 original song compositions by Bruce Kaphan who makes it crystal clear right from first track Pohaka La that you are listening to a unique composite of exotic blending with unrivaled beauty harvested from another cross section in the vast field of music and it quickly becomes apparent this new emerging beauty will remain a lasting entity. 

Pedal steel guitar happens to be the prominent instrument in Hybrid and a natural selection after listening to songs like Gleaming Towers, Legacy, Silenzi & Renewal, which breaks new ground by classifying the instrument as a main entry melody contender versus a mere supporting instrument.

Songs like piano enhanced Maya and guitar renditions in Senbazuru & Loops for Larry are displayed in a new manner and show the instrument as an appealing choice while clearing a new path during improvisation in light ambience while reproducing a well conceived follow up for his Slider – Ambient Excursions for Pedal Steel Guitar 2000 release.

In an age where hybrids in all shapes and forms are becoming more relevant daily, Hybrid seems like a natural contender when placed side by side among traditional New Age albums and the lighter exploratory metrical patterns of Jazz, Hawaiian and Country in Hybrid are a prized natural attraction that shows well beside other music forms while earning the respect it deserves.  

Bruce enlisted numerous artists on this album including, Jake Shimabukuro, Jeffrey Wash, Kent Darnielle, Salar Nader, Matt Brubeck, Real Vocal String Quartet, David Immerglück, John Loose, Paul Olguin and Karl Perazzo and Real Vocal String Quartet that is featured in Okanagan Jubilee.

Visit brucekaphan.com to sample / purchase or visit his CDBaby.com page.  Read his biography page and discography page.

Picture Copyright Bigstockphoto – nsilcock

Many musicians are content to remain within a specific genre and are a complete success in their artistic focus. Then there are other notable musicians where a natural progression is realized, developing into a unique artesian style and by their inner convictions, become a virtuoso by what they offer the music world.

Gandalf is an internationally acclaimed composing musician and producer from Vienna Austria first identified as a New Age, Contemporary Instrumental and World artist. While transitioning over the past 30 years of his career, his progressive directive and persona has helped neutralize the customary social borders in multicultural music for years.

Gates To A Secret Reality on the Prudence label is an open manifest of his ambitious return to classic World music. This 1996 album is one of fascination and perhaps a secret gaze into what Gandalf is planning for a future orchestration slated to celebrate his 30 year Anniversary in 2011. This future CD currently being composed is the centerpiece for the occasion, plus a live performance in Vienna will be the setting that accents his milestone achievement.

It was during continental travels to Europe, North & South America and Asia where Gandalf began to realize the prevailing attitudes and many similarities of every continent greatly unites each of us, verses creates a divisional line between countries.

This open border view is much a part of his global World Music ambitions, and perhaps why his style encompasses a unique image while making a valid statement in relation to his cultivated talents and international status.

Gates To A Secret Reality featuring 11 songs with over an hour of world class music is an earlier expedition not to be missed. Gandalf is a multi instrumentalist performing acoustic and electric guitar, charango, piano, keyboards, mellotron, balaphon and indigenous percussions. Enlisting Emily Burridge from England and Peter Aschenbrenner from Vienna, Emily performs vocals & cello and composed 3 songs while Peter is another fine talent performing flutes, soprano saxophone and some backing vocals.

This ensemble in unison has made the album a unique listening experience and beginning with 3 songs Dreamcatcher ( Part 1 ) vocals and flute instill a celestial atmosphere while Gandalf steps up to give an astounding Rock styled electric guitar anthem. This is much in relation to The Power Of Nature & Man’s Promise To Mother Earth performed by the united trio where vocals, flute, keyboard and electric guitar proclaims a powerful majestic atmosphere and is most memorable by any standard.

Many songs journey along more moderate terrains regarding style and tempo yet the fascination remains deep and on a grandiose scale. Footprints In Red Sand is relaxing by the flute and keyboard interludes before building momentum with electric guitar that greatly increases depth of the impression.

Majestic Mountain View is an apt title shown by cello, keyboard and flute setting their sights on a light background depth and then again in windswept song Voice In The Wind, then bells signal the tonal imagery in piano and guitar melody on Along The Milky Way.

Some songs like Ascending On The Eagle’s wings, Dreamcatcher ( Part 2 ) & Floating Down The Silent Stream are lighter ballads nicely elevated by cello Flute, keyboards and saxophone giving a cinematic feel by lighter orchestrations portrayed in a lavish way.

The Wheel Of Life is a moving concerto lightly revolving in time, thought and deliberation, swaying in a gentle way by an enchanting flute melody backed by wondrous piano rhythms. Cello is fluently engaged to intensify the atmospheric warmth and progressive movement this song and the album in entirety envisions, perhaps giving us secret insight into the celebratory atmosphere Gandalf has in mind for us in the year 2011.

Visit Gandalf.at to sample his music and find out more on his biography page. Visit the Munsing Germany based bscmusic.com homepage and then his BSA Music profile page to sample / purchase his music.

Picture copyright Bigstockphoto – EcoShot

To be a David Arkenstone fan is never boring, and his most recent project – the new group named MANDALA – seems to be another nice addition to an already impressive discography. The group consists of Seth Osburn, John Wakefield and the maestro himself, David Arkenstone.

 This group recently held a concert which was filmed and presumably will be available on DVD (unconfirmed).

Here is the message which was posted on Facebook:

You’re invited to a FREE CONCERT this TUESDAY, MAY 18th,
7pm, Simi Valley, CA This is a concert demo for
a new tribal electronica trance group MANDALA, featuring David Arkenstone. First 30 to
respond for FREE concert & refreshments. Think meditation, inner exploration and ECSTATIC DANCING! Very cool cutting edge visuals.

And here is the concert poster:

The concert was held and on David Arkenstone’s label, Domo Music Group, a total of six pictures have been posted from the event – here and here.

In David’s own words on Facebook:

We just filmed a really cool concert for my new group, MANDALA. It’s exciting diving into this tribal electronica genre with these amazing visuals accompanying the music.

If you were one of the persons attending this concert, please contact us and tell us what it was like! Make sure to follow David Arkenstone on Facebook. We will too follow this project carefully. In the past David has been a member of the “ambient Native Southwest” side project Ah Nee Mah, together with Diane Arkenstone.

Now you have the chance to own a piece of new age music history! The studio where Mike Oldfield recorded Tubular Bells is up for sale. Online magazine nme.com reports:

A 16th century house at Shipton-on-Cherwell, The Manor was converted by Richard Branson into the UK’s first ever residential recording studio.

The Grade II listed building opened its doors in 1971 and saw the likes of Gong, Sandy Denny, John Cale, Vivian Stanshall and the Bonzo Dog Doo-Dah Band and Tangerine Dream record there in the early ’70s, reports The Independent on Sunday.

Read the whole article here.

Here is a presentation of NewAgeMusic.com’s new group which aims for NA music meetings in Los Angeles, CA:

There is a growing demand for new age music concerts, gatherings, presentations, seminars, healing sound treatments, new age music meditation groups and more. This group is for Creators, Supporters and Lovers of New Age Music and Transformational Entertainment and gives members a chance to be connected and informed about new age music concerts and other related events.

Become a member here – and please leave your comments.

When you hear New Age Contemporary Instrumental music having great rhythms and a wonderful upbeat atmosphere expertly blended with beautiful electronic melodies, this may be a promising sign you are listening to one of many quality songs produced by Davol !

Davol has just released Good Sign which decisively aligns itself to symbolize my description above and become an encouraging assertion to those in the music world already familiar with his first name artist title they are indeed listening to someone known for producing top quality music. 

Successful in many aspects of his life, after obtaining a Ph.D. in 1989 his earlier career as a medical researcher and microbiologist were judiciously shelved in 1996 when he began a commercial venture producing multimedia music.  During the same year his debut Mystic Waters became another personal success and made it to # 15 on the Billboard New Age Chart, where it remained a lengthy 25 weeks. 

The decision to pursue a full time music career was fantastic news to those who already knew of his premium quality melodies, plus the worldwide usage of his songs involving television, radio, video and numerous multimedia production scores has clearly magnified this proficient artisan to many more.

Good Sign is an album that upon closer examination is rapidly multiplying in popularity and already making waves with his fans since the April 2010 release date.   ZMR has set at # 3 for the month of April, so another positive finding for the very latest from Davol. 

The 4 additional albums A Day Like No Other, Open Book, Paradox & Nature Of The Beast are all relatives to his current yet each one is a natural variation that evolves into their individual class, each interrelated by a characteristic source of fascinating drama.

Davol has exceeded his artistic intentions with Good Sign and the early reactions granted to his progressive album does replicate the characteristic source of fascination one will find in his entire discography.  Good Sign is symmetrical to Davol’s principal expression of innovative quality music accented with inspiring drama. 

 Scarborough Days is the first song of 8 tracks that gives you a clear indication of the momentum and direction of this definitive album, along with the resulting positive influences his entire discography symbolizes.  This lively song highlights the optimistic upbeat feel and beautiful keyboard synthesizer melodies those who collect his albums know so well and treasure.

Good Sign ( Title Song ) is more moderate by a light ambient feel that will brush a dark cloudy day away for anyone and promptly replace it with a bright sunshiny day full of color simply by the rich interwoven keyboard melody.

Truth 2010 is an electronic Dance / Club influences remix featured during the popular online video now available on this album.  A heavier percussion tempo prepares the groove rhythms before exploration into deeper shades of electronic intensity and is very much in time when comparing to his conceptual Truth Video which captures the superficial and unbalanced influences often portrayed in television media.

Nautikos is another favorite by displaying a natural sophistication and contemporary elegance given the positively upbeat keyboard melody blending notes to perfection.  This song steadily integrates harmonic spectrums in sound while harboring the glowing standard of inspiration Davol can readily achieve, making this album and his entire music collection an exceptional find for anyone. 

Those already familiar with his captivating music have another reason to celebrate.  Newcomers will perhaps experience this sweeping source of fascination for themselves and learn why everyone is excited about this promising new discovery by Davol.

Visit davolmusic.com to sample / purchase or visit his CDBaby.com page.  You can also find out more about Davol at his biography page and MySpace.com page.

Picture Copyright BigStockPhoto.com – Yakobchuk

Bryan El is the artist title recognized for producing Classical Symphonic New Age music in a highly effective format that makes a grand impression while shedding new light on each and every one of his modern day electronic interpretations.  You will find his compositions readily capture your attention right from the first few measures up to the final notes.

Bryan El is our featured interview guest where the topics of Bryan’s 2 albums, Out of This World & Spiritual Evolution and his stunning song videos are open for discussion in addition to a detailed look into what makes Bryan’s individualistic approach to music so appealing. 

Interview host John Olsen recently had the opportunity to visit with Bryan El and today we publish their conversation so that our readers can learn more about the ambitions of this New Age musician easily recognized by his remarkable electronic symphonies.

John :  Thank You for taking time out for our interview Bryan.  Recently I wrote album reviews and posted several song videos from Out of This World & Spiritual Evolution because I felt our readers would find your projects are boldly unique from many other forms of electronic music just like B.T. Fasmer and I did.  I have read many comments from your fans that support my statement too, so it was only logical to ask for an interview so everyone, including your fans could learn more about you.

Let me ask you this first. Many times an artist will say they have another musician’s influence or they “ sound like “ another more recognized artist. I personally feel you break new ground with electronic music in many respects and do not “ sound like “ another artist. Do you agree and share the same thoughts or do you feel your music closely resembles another artist ?
 
Bryan El :  Many people have a habit of comparing the sound of one artist with another.  I believe each individual composer is trying to find their own “sound”.  This can be based on several different songs and styles they have heard throughout their lives and have been unconsciously inspired by them.  Of course I have my own sources of inspiration as any artist does but I feel I am still evolving my own “sound” as I keep producing new projects.

I honestly couldn’t say what my music will sound like ten years from now and that’s what makes it so exciting.  You will always be able to identify similar instruments being used by different artists like pianos, strings and violins, but what matters to me most is the way an artist mixes these together into something unique….  A melody which expresses an emotion like a story that has never been told before.
 
John :  Help me determine what exactly sets your music apart from so many others Bryan.  Is it because your music is Classical Symphony styled, or could it be that your upbeat modern day compositions are the reason you seem to rise above the crowd from many other electronic composers ?  What are your thoughts Bryan ?
 
Bryan El :  Good question.  It’s hard to give your own music a “stamp” of its own kind and I don’t really like to compare my music with other artists in terms of “uniqueness”.  Each artist is trying to capture emotions in their own way and the beauty of it is…. there are no rules how to do it.  It allows composers to experiment by tweaking their own sounds and combining different styles into one to create something new and original.  Eventually it’s up to the listener to determine what sets a specific type of music apart from others.

John :  Out of the many genres available for a musician to explore, what led to your decision to embrace New Age and then explore the surreal Classical Symphonic music ?

Bryan El :  It wasn’t a decision really.  It’s not like at some point I decided “hey let’s try the electronic new age category for a change”.  I actually experimented with different things never knowing where I’d end up before I started a project.  I’m not trying to fit a certain “genre” either.  It has never been my intention to compose symphonic electronic music as people may call it.  It’s just the global mix of so many different aspects and influences in my life that led me to create this and I am continuously searching to expand my boundaries.
 
John :  Since your artist title of Bryan El consists of you alone, how exactly do you construct your projects to acquire a full orchestra sound, and do you mind telling everyone what equipment you use while recording ?
 
Bryan El :  Except from the hardware sounds I get from my Motif 6 synthesizer I am using a mix of VST plugins which I load into my Cubase sequencer.  The orchestra sounds like violins & cello’s come from an amazing VST plugin called EastWest’s “Symphonic Orchestra”.  The sounds from this VST have been individual-note recorded giving me the freedom to bend the notes to my own will with every detail.  The choir vocals come from EastWest’s “Symphonic Choirs” which has a speech utility where you can actually type what the VST plugin should sing in any desired composition.  It’s state of the art.  Most electronic sounds come from the ReFX Nexus plugin.  The Nexus is really awesome.  It lets you tweak your own sounds in such detail.  I don’t know what I’d do without it.  Finally the groove is done with Stylus RMX.

I believe each individual composer is trying to find their own “sound”. 

Bryan El

John :  Would you tell us about your introduction to music starting from your earliest introduction up to present day ?
 
Bryan El :  The earliest I can remember is my mother playing these cassettes with very melodic new age/electronic music when I went to bed as a child.  I remember it relaxed me so much and some of those tunes are burned in my memory for life because they had such a deep impact on me.  I believe some of those tunes were by Vangelis, Tangerine Dream, Karunesh and Aeoliah.
It’s no surprise that when I got a little keyboard for my 10th birthday I couldn’t stop playing with it.  Then came the Playstation era.  Apart from the many cool games it had there was this awesome music program for it called “Music”.  It opened my eyes to all possible things that could be done composing music.  It was a basic sequencer which allowed you to freely place your own notes and adapt everything to the smallest detail.

Of course when I listen back to some of the tunes I made on it, I find the sound is quite poor compared to professional sound studio’s but it was a great start for me.  When I was about 16 I got hooked on this cool midi sequencer called “Fruityloops” and made some dance tunes with it which I played at my friends parties.  The Fruityloops was a next generation for me and much more sophisticated, far better sounds and effects.  I was mostly inspired by dance-trance artists like Tiësto, Paul Van Dyk and Armin Van Buuren at the time and I learned a great deal by listening to their sounds, but it wasn’t until I got my Motif 6 synthesizer along with Cubase SX that I started to do some serious composing.   I was 20 years old and could finally do what I always dreamed of and make it sound exactly the way I wanted it to.  It was only a matter of time I discovered the internet would become a great tool of sharing my music with the world and I was surprised by the amount of positive feedback.  I never taught I’d ever get the chance to release my own CD…. let alone two of them :p

It’s a dream come true thanks to AMAdea.  The thing people never seem to understand is that I never actually attended any music school or learned how to read notes.  When I have a melody in my mind I just systematically search and set each separate note in my sequencer instead of playing it live.  It’s quite a time consuming process but patience is always on my side.  I think this proves that anybody can make music if you are determined enough to express your emotions.  I’ve never believed anybody should learn a specific set of guidelines and rules when it comes to music, I am autodidact and teach myself by learning from the music world around me.
 
John :  Since you are one of the many great AMAdea Records Label artists, have you compiled any projects with other AMAdea Records label artists ?
 
Bryan El :  Indeed there are many great artists distributed by AMAdea but I haven’t had the pleasure to work with any of them yet.  Who knows what the future brings, but for now I’m concentrating on a third solo album.
 
John :  Many of your fans have said the song Solaris is among their favorites out of the many great songs you have produced. Is Solaris your favorite also and what do you believe is the reason this song is so popular among your fans ?
 
Bryan El :  Each composer has his own favorite baby and this one’s mine.  Solaris is selected for airplay on several internet radio stations around the world.  I’ve also produced a trance remix of it which has become quite popular on YouTube.  The exposure may have caused the tune to become such a hit among my fans.

When I have a melody in my mind I just systematically search and set each separate note in my sequencer instead of playing it live.  It’s quite a time consuming process but patience is always on my side.  

Bryan El

John :  Your YouTube music videos are some of the best songs combined with visual effects I have seen and many would agree they are well conceived.  Is constructing a song video and getting everything to correspond exactly the way you want it complicated technically ?
 
Bryan El :  The most complicated thing is to come up with an idea for the video.  Once you have that it’s not that hard to assemble the video itself.  I’m a music composer and not a movie designer so I had to come up with the solution of using existing footage to present my own music with.  I have hundreds of DVD’s and have enough footage about anything you can think of so then I just listen to my song while I imagine what the emotion is showing me.  Then I search for fitting footage to the music.

For example…. on my Solaris remix I used small parts of footage from a Tiësto concert dvd and pasted the parts together, muted the original sound, placed my own remix on top and adjusted the footage speed to match my own remix.  Eventually it looks as if DJ Tiësto is playing my remix on one of his concerts.  All you need is a good video editing program like PowerDirector and you can start editing.  Of course none of my video’s are for sale as the images come from existing copyrighted material, but because the amount of footage used is so small it can legally be used under the term “fair use” on YouTube.
 
John :  Could you tell us what do you have going at present, where you are at, and what can we expect ?
 
Bryan El :  I am planning a third album as you know and many ideas have been roughly recorded.  Be patient though….  It will take me at least a few years to get this new album ready.  I can’t tell everyone much about it yet but all I can say to the fans is… it will be worth the wait !
 
John :  I am certain it will be highly anticipated and many like myself look forward to your next release.  I just wanted to thank you again Bryan.  Expect me to write even more about you in the future here at our NewAgeMusic.nu & NewAgeMusicWorld.Com websites.  Your music along with the videos you produce displays your talents in a profound way.  B.T. Fasmer and I wish you continued success.
 
 Bryan El :  Thank you John & B.T. Fasmer!  You guys are great and it’s an honor to be on your websites.  I also want to thank my fans for their support (it pays for my studio ) and thanks to AMAdea for distributing and promoting my music and for really caring about their artists !

We now invite you to visit Bryan’s new website at bryanel.com right here.  You can also visit his MySpace.com page & CDBaby.com page.  Learn more at his profile page and then discover the many fine AMAdea label artists at the Bulgarian based AMAdeaRecords.com homepage.  The bryanel.com website is also a great place to sample his music and read the latest news about Bryan El.

*AMAdea Records has just announced the grand opening of their independent music store outlet.  You may read about the news here then visit their new amadeastore.com website to read about the specials and vast selection of popular music encompassing every genre they are now offering their worldwide visitors.

Mobile provider Verizon has a list of 5 productive ways to use a Samsung Reality phone. One of them caught my attention:

Create bedtime rituals that are filled with peace enjoy. Instead of watching the nighttime use, violent drama or your favorite reality show where people yelling and screaming at each other, why not open the drapes wishing you were at the closest Caribbean Lagoon? Why not listen to classical or new age music that programs your subconscious mind for prosperity? At the end of a very stressful day sit on your massage chair if you have one of the line is have a cup of hot cocoa, hot chai tea, hot ginger honey tea and spend 15 minutes count your blessings. You can a cultivate the feeling of serenity that will wash over you when you bring attention to what is good in your life!

I can only say yes, yes, yes. We got that Caribbean Lagoon ready for your right here!

See rest of the list here.

Clifford White is a legendary musician living in the United Kingdom defining our New Age genre in many respects. I find his personal biography and true life success story which sets him apart from so many other musicians incredibly powerful and real.

Clifford’s insightful inception into the New Age genre emerged as a teen back in 1985 when he released a phenomenal hit entitled Ascension, establishing Clifford as a leading composer and producer that greatly influenced our primal genre in the process.

If you knew Clifford and the significance of his story through the past 25 years you would agree too and knowing his past servitude to our genre, everyone can expect even more contributions in the future since his dedication remains steadfast and paramount.

Clifford currently presides over his multi faceted 21st Century New Media Ltd business specializing in media consultation of Internet, film, software, television, media related training courses and even designed the MG Music website for Medwyn Goodall.

In addition Clifford created the New Age Music Network social forum and operates his New Age Music News website where his business and technical knowledge is eclipsed only by his abilities to compose and produce classic music that greatly defines our beloved genre.

Ascension ll – The Healing Touch on the MG Music label bestows another great testimonial to the aesthetic values of Clifford White and his principal leadership towards a music genre that promises peace, beauty, and calming tranquility with every defining moment. The reverent interludes of 9 classic songs heard in Ascention ll offer gentle concertos with wonderful orchestration in each passing moment of time.

Ascension l l – The Healing Touch is his 2010 sequel that revisits the very essence of Clifford’s younger creative spirit, yet now with newly enlightened perceptions as an acclaimed artist. His music incorporates ethereal sensations in ambience that nicely reinforce the melodic persona of harmonic purity that are identifiable to the achievements of Clifford White and a lifetime of dedication to the progression of New Age music.

Visit cliffordwhite.co.uk to sample / purchase Ascension ll and then be sure to read the Full Biography on Clifford White. Here is our dedicated page at NewAgeMusicWorld.Com. Visit his multi faceted 21st Century New Media Ltd business and the Medwyn Goodall MG Music.com website. Here you may visit his New Age Music Network social forum and his New Age Music News website. Photo Copyright Clifford White.

The Power Within is one song from Ascension ll that gives a fine example of his work and is featured below in the song video, along with an album quote I wrote on my review titled Defining New Age Music.

Clifford White first composing the historic international best-seller Ascension back in 1985 now celebrates his 25th year commemoration by the powerful and inspiring Ascension ll – The Healing Touch. The biography of Clifford White reaches another chapter in his life and music, telling much about the man and his insightful dedication to the New Age persona.

The European Song Contest is today being held in Oslo, Norway. Last year Alexander Rybak won the European Song Contest with the ballad Fairytale. The song got the most votes in the history of the show. You can see the song performed here.

It is however not a new age song, but the reason I am writing this is because the last time Norway won, in 1995, the winner was Secret Garden with Nocturne – which is very new age indeed. This was the beginning of Secret Garden’s career, which has given us some incredible songs (like You Raise Me Up).

So yes, a new age song can win the European Song Contest, at least back in 1995.

See the performance here – which is a classic moment i new age music history (with some Dutch speaking in the intro):

Good news to all Marc Enfroy’s many fans; now you can sample 10 songs from his upcoming album! If you already are a member of his newsletter, you only have to check your email inbox and follow the provided link to sample the music. If you’re not a member here yet, you have to go to MarcEnfroy.com and input your information in the blue box to the left. Your email is safe with Marc, so don’t worry!

Marc also asks you to rate the brand new songs – so just listen, relax and tell him what you think in the online survey.

See our previous articles about this fine artist here.

On Friday June 11 Kitaro will perform at the Harmony Festival on the Sonoma County Fairgrounds in Santa Rosa, California.  He will perform together with Grand Master Tanaka & Dennis Banks. Here is a presentation of Grand Master Tanaka:

Grand Master Tanaka has been honored by Japan’s Ministry of Foreign Affairs with its prestigious Foreign Ministers Commendation which recognizes his significant efforts in promoting the Japanese art of Taiko drumming.  In 2001, he was named a National Heritage Fellow by the United States National Endowment for the Arts, widely recognized as one of America’s highest honors in folk and traditional arts.. Master Tanaka explains, “The essence of Taiko is not only skillful playing of percussive instruments, but also discipline of mind and body in the spirit of complete respect and unity among drummers.”

Dennis Banks:

Ojibwa Native DENNIS J. BANKS is one of the founders of the American Indian Movement (AIM) and has spent much of his life protecting the traditional ways of Indian people and engaging in legal cases protecting treaty rights of Native Americans.

Read more and book your tickets here.

David & Steve Gordon are internationally acclaimed 30 year music legends pushing the musical boundaries yet again by 2 releases in 2010. The time consuming search for finding great music just got a little easier and I plan to bring you more about the band of brothers who founded the Sequoia Records Label.

The Gordon Brothers are easily recognized by many since these Award Winning producers, composers, and classically trained instrumentalists also founded the acclaimed Sequoia Records 26 years ago and will find they are a reliable and trusted source for great music.

Knowing their defining contributions to our genre and after my recent introduction to David and Steve, I look forward to telling you about their new releases since they consistently shape the landscape of New Age, World, Ambient, Nature, Chill Out and Electronic music in many respects.

New Age explorers of music by their early conception of nature sound creations and early dawn of their Sequoia Records Label, these 2 music innovators have attained world class recognition, grossed over 1.6 million units in sales worldwide and in the process, and even helped write the definitions for our primary genre and subgenres.

David and Steve Gordon have been recognized too since their original music was commissioned for many film and television scores over the years, charted several times on Billboard and a recent New Age Music Retail survey has listed the team as the fifth overall favorite in our beloved genre which tells you about their fine achievements, recognition and life work.

Gratitude is their latest contribution in the Relaxation and Meditation series highlighting Native American flute with enhancing keyboard imagery that when integrated as a whole creates a natural feel with the pairing and becomes conducive to a revitalizing atmosphere.

Gratitude has a calming sensation which briefly takes you back to their innovative days of nature sound ambience first heard in primordial album Misty Forest Morning if you listen close enough. On their current however a more prominent Native American Flute interchange becomes extended when partnered with drawn out electronic enhancements, nurturing depth while maximizing the level of richness in tonal balance.

The electronics blended with woodwind passages impart moments of peace and solitude in a relaxing sanctuary of refined ambience. While sharing equal time and thought on this album, the Native American flute passages at times, becomes the calming voice from the past that shares a respective dialogue with modern day electronic ambience.

Buddha – Lounge 7 is the second release and a compilation of Chill Out Electronica tracks from around the world, and a great choice for those pursuing exceptional Chill Out music that also happens to be widely popular these days.

This Sequoia Records album enlists an extensive array of 9 hand selected global talents sporting their individual interpretations of Electronic Chill Out, Groove and Lounge, with David and Steve taking a role on 3 originals of the 12 songs which presents over an hour of first class music.

Buddha Nova, Secret Lotus & Cobalt Transport are the 3 songs from David and Steve, and it is always a challenge to pick just one favorite, but lively percussion enhanced Buddha Nova with a light tonal keyboard melody did make an impression on me.

The progressive feel of Secret Lotus and mesmerizing percussion enhanced Cobalt Transport are first class too and you will find my favorite pick is simply a matter of personal taste.

This compilation album in entirety features Achillea, Tya, Jens Gad Presents, Artemisia, Paul Heinerman, Helene Horlyck, Jaya Lakshmi, Lodestone Resonator, and Opera to Relax.

Buddha – Lounge 7 is just one in the edition series in an even more expansive 16 Chill Out / Groove compilation albums from the production and mixing team of DJ brothers who showcase an abundance of global music talents you will recognize in addition to their individual album arrangements, making your search for fine music so much easier.

Visit the sequoiarecords.com homepage and then visit David & Steve Gordon’s biography page. Here is their Meditation, Relaxation and World collection page and where you can sample Gratitude. Here is their Chill Out Electronica collection page and where you can sample the latest Buddha – Lounge 7. If you are new to The Gordon Brothers here is a link to their best sellers page.

Photo Copyright Sequoia Records

We would like to use this opportunity to remind everyone about radio broadcaster Sky.fm’s New Age channel. Here you will get 24 hrs. a day of new age music – and I, B.T. Fasmer, is your host! Rely on me to give you the best and most relaxing mix possible.

Also, remember to visit us on Facebook!

Reuters has an interesting article about Peter Buffett in connection with his new book:

Musician and now author Peter Buffett preaches the message in his new book “Life is What You Make it: Finding Your Own Path to Fulfillment”. Recently released in the United States, it describes how he wound up a “normal, happy” person instead of a spoiled child to one of the world’s richest people.

Buffett, 52, teaches the rewards of self-respect and pursuing one’s own passions and accomplishments rather than buying into society’s concepts of material wealth.

“I am my own person and I know what I have accomplished in my life,” he said. “This isn’t about wealth or fame or money or any of that stuff, it is actually about values and what you enjoy and finding something you love doing.”

Read it here.

David Nevue is a composing Solo Pianist where some comparisons have been made to other pianists in the solo category for years.  Those truly familiar with David accept the fact his personalized Neo Classical melodies shed new light on Spiritual piano music while instilling a deeper meaning apart from many by their innermost reverence.

It is true that in addition to his individual concert appearances David who resides with his family in Oregon, has often shared the stage with comparable great talents like David Lanz, Wayne Gratz, Suzanne Ciani, Peter Kater, and a multitude of solo performers, so perhaps a reason some comparisons of his work are made. 

Another reason could be the way up in the clouds airplay since his music is heard on over 220 radio, satellite and internet programs worldwide.  Overcome is a prior album named Best Instrumental Piano Album of 2005 in the Lifestyle Music Awards and Adoration, which also features traditional hymn arrangements reached # 1 on ZMR charts in May 2008, highlighting the integral popularity of his music.

In relation to his music career David also authored the book How to Promote Your Music Successfully on the Internet and founded the educational Music Biz Academy website that helps independent musicians market then advance their individual music careers.  David also founded the free internet based Whisperings :  Solo Piano Radio program having nearly a million listeners each month.

Coinciding like an open ministry of personal faith, Revelation :  Solo Piano for Prayer & Worship is an offertory album of 19 intimate peaceful songs of beauty within, given the honored hymns of worship that persons with or without their own personal inner beliefs will enjoy.

Revelation :  Solo Piano for Prayer & Worship contains 5 new hymn arrangements, 4 original songs and improvisations on 10 modern worship classics and is David’s eleventh release with a rededicated focus on melodic piano music offering a deep spiritual structure. 

Revelation is much like past albums by original content and inclusion of new compositions on age old song hymns from centuries past where church attendees from many religious faiths will recognize in the first few measures. 

David Nevue has a limited degree of formal music studies so recites much of his songs from memory, but believe me this is not apparent when you witness the beautiful music granted to this devout Christian man also identified by a skillful aptitude in his composing abilities and creative spirit while performing his personalized music.

You will discover that David offers his hymns like an open book with a nice variety of thought and feel on each song he performs.  Softly and Tenderly is shown in a like reverence by an emotion filled call during the gentle yet moving piano melody that is more than worthy of this ages old hymn.  Blessed Assurance is an onward moving testament by the lively melody set in a moderately faster tempo that reveals the resolute nature of his work.

Holy, Holy, Holy is a lighter piano improvisation validating the positive hallmarks of the holy trinity and Amazing Love ( You Are My King ) is a more introspective song of tribute and another positive affirmation for the melodies of honor he steadfastly produces. 

David’s version of this Contemporary Christian music hymn is serene by an inner reflection that stands apart from most modern versions and at the same time, celebrates his faithful commitment to Solo Piano music exalting a beautiful reverence overfilled with joyful praise.

Visit davidnevue.com to sample / purchase and learn more about his inspirational music.  Then visit David’s CDBaby.com page and his MySpace page.  To listen to Whisperings Radio go to solopianoradio.com right here.

Performance coach Nikk Zorbas has this interesting comment to share on web page MesquiteLocalnews.com:

Music can be an effective way to empower the mind, energize the body, and drive you toward achieving your goals.

Psychological studies have shown that the brain absorbs new information 85 percent faster through the repetitious use of music or voice recordings.

And more:

Music can also impact a person’s state of mind, helping to alleviate depression and anxiety and increase creativity and optimism.

Listen to some New Age music and watch your stress level decrease almost instantly—it’s like a soothing bath without the water! And we all know that stress is one of the biggest health hazards to brain and body alike.

Read it all here. But we already knew it, didn’t we?

I recently wrote an article called Music of the Spheres – Two years after. I hold Music of the Spheres to be one of Mike Oldfield’s best. Below is a video with Mike and Hayley Westenra from the Alan Titchmarsh Show which was recorded in connection with the album release.

We all love live new age music here on .nu, don’t we? These two artists are just so talented!!!

Cadence Spalding is a multi talented singer, songwriter, and performer I have interviewed and published a review on recently. Many know about her Save The World release and solo performances with husband Mars Lasar on his albums by our interview, but there are so many more aspects to Cadence Spalding I wanted to tell you more about her.

Cadence is preparing for her role as a television network host for a Children’s program in California having already performed in a teaching role for years by her Miss Jenny television personality designed to educate and entertain children in the California community.

Along with her active role at many special events in the state, Cadence has scored, recorded and performed original music for children’s musicals that benefit renowned charities, including donations of original scores for documentaries, independent films and commercial CD / DVD’s.

In 2008 Cadence composed the scores for both the original and the remake of For The Children, a documentary originally narrated by James Coburn for Share Incorporated based in Beverly Hills, California.

Save The World is Classic New Age where her radiant vocals host a lovely mix of ballads finely tuned to perfection in the purest sense, and where Cadence instills her personal message of peace, harmony, and dedication to the family unit for all who share the same logic, devotion, and mindful perspective.

NewAgeMusic.nu had chose Save The World for the # 1 position of our Best Album of 2009 awards, placing Cadence Spalding at the top since we decided her debut album represented a title that answers the “ what is New Age music ” question the best and illustrates everything that is great about New Age music.

Save The World began her debut solo album as a singular artist while also glowing radiantly as a soloist on many releases from Mars Lasar, who provided his expertise and renowned talents on the mixing, vocal layering, and technical production of her debut which nicely enhances the aesthetic value of her first solo album.

This release is available as a CD only or in a suggested and widely preferred CD / DVD collector’s edition featuring top quality visual photography by Mars Lasar that is a beautiful work of art.

Visit cadencespalding.com to sample / purchase. Read her Biography pages that tell about her diverse life work and Miss Jenny character when leading her children programs. Read our interview together and my review on our page dedicated to Cadence Spalding.

Visit marslasar.com to sample / purchase his many releases. Read his biography here then read our interview on our page dedicated to Mars Lasar. Below is an album quote from my review titled Music to the Power of One and a video of title song Save The World.

Cadence Spalding is one person doing their part as role model for bringing about a greater awareness by her Save The World album. The 11 tracks pertain to the noblest of desires in conveying her message of what one person alone can accomplish by caring for mother earth, caring for those who cannot help themselves, and by caring for one another as a family unit.

NewAgeMusic.nu & NewAgeMusicWorld.Com is proud to present an exclusive interview with new age music legend Clifford White. In this interview he talks about everything from Ascension (1985) to the upcoming album Atlantis - and tells a few secrets too! 

John P. Olsen:  Take us back to 1985 when you were 17 years old.  Ascension began your journey as a leading composer and producer of the primordial UK New Age genre, with Ascension selling tens of thousands of copies worldwide to become the strong foundation to your music career.  What is the reason you are so committed to the New Age genre Clifford, and have you ever considered producing music in more popular genres?

Clifford White in studio

Clifford White: Although it was by no means traumatic, I did not have a particularly easy childhood, and by the age of 14 I had developed insecurities and fears which I found I could escape from by creating simple music on the piano, or by using various home keyboards and other musical instruments. Many years later, upon reading Mike Oldfield’s biography ‘Changeling’ I was very moved to hear that he had suffered from similar problems in his youth, and had in fact written Tubular Bells for much the same reason i.e. to escape from a world of fear into a space where the healing power of music could help him in releasing and resolving his feelings – in effect a form of musical catharsis.

My first album Ascension was written in a comparable frame of mind, and it is quite telling that it went on to have such an impact upon people’s emotional wellbeing. I am quite positive now that music influences the mind, body and soul in the most profound ways, and that for this reason my commitment to it abides. With Ascension boosting my musical confidence, I went on to produce a further 7 albums over a period of 10 years (1985 to 1995) in a variety of styles and I will continue to be committed to developing and promoting this type of music in the future, within whichever genre it appears.

I am quite positive now that music influences the mind, body and soul in the most profound ways, and that for this reason my commitment to it abides.

Clifford White

John:  I read in your biography at NewWorldMusic.Com, where your solo albums began receiving much press in the U.K. and  were described as “Britain’s foremost exponent of New Age Rock“ and you, (Clifford White) were even listed next to the iconic Rock band, The Who in Collin’s book The Best of Rock.  What is the story behind this statement and the early events during the time period?

Clifford: Well, the ‘Best of Rock’ review was actually a bit of a joke. I mean, who actually creates ‘New Age Rock’ – isn’t that a bit of a misnomer? In actual fact, it was a well known pop journalist called Alan Clayson that coined the term when he was asked to compile the ‘Best of Rock’ book. I knew Alan at the time, although I was very flattered that he wanted to include me. Imagine my surprise when I found myself next to The Who. Nice.

John:  You were the presiding founder of the UK New Age Music Association (NAMA) with 40 top artists including James Asher, Kevin Kendle, Asha Quinn, and Tim Wheater.  What was the mission of  NAMA as a whole, and were there some ideas formulated that have evolved into what we find in today’s New Age genre? 

Clifford: Yes there is, and in many ways, my original desires and intentions for NAMA have been spectacularly resurrected with the resounding success of the New Age Music Network:  Newagemusicnetwork.ning.com - an online social network with over 500 members. Both then and now, I continue to believe that artists and companies can work together to nurture and support the new age music genre and that, in perhaps our more technologically refined era, social networks such as these provide excellent environments from within which many useful discussions develop and contacts are made.

It is however unfortunate that, just as in the early days of NAMA, there is still a certain degree of exploitation going on (not mentioning any names) but I suppose this is to be expected in any industry, perhaps especially within music. I just wish people would see the logic in working together in teams to a greater extent. I believe our culture suffers greatly from excessive individualism and self interest, and what seems to have become an instinctive cynicism towards collaboration and group support – almost paranoia in some instances. It is therefore refreshing to meet individuals such as yourselves who, quite obviously, have nothing but positive intentions and goodwill as an agenda.

B. T. Fasmer: Please tell us a little about Sanctuary Studio at St Albans. From the pictures on your page, it looks impressive. Do you use mostly DAWs, or hardware synths – or both?

Clifford: Sanctuary is the current name of my recording studio in St Albans. I set the studio up in 2008 and it is my most ambitious studio to date, certainly in terms of space and creative freedom. Our studio has a dedicated sound booth for musicians and singers to perform, a control room and kitchen plus an office area. It was the realization of a 20 year dream to setup this studio and I am truly grateful and thankful to have achieved it. The only trick is finding enough time to spend in it!

On the music technology side I, like so many other producers in our current electronic era, use computers almost exclusively in the process of creating music. I have, over the past 10 years or so, built up a huge sample library of instruments, sounds and effects, which, combined with the software DAW I use – which is called Muzys – accounts for about 99% of my current music output. I do have a traditional ‘vintage’ analogue synthesizer – the Novation Supernova II Pro X, which is truly a beast of a machine – probably the greatest synthesizer ever made in terms of power and flexibility. Unfortunately however, it does not often see the light of day, as it is so much quicker and simpler to layer all of my music directly on the computer. However, when a special timbre or effect is called for, the Novation is there.

I also have a small selection of ‘virtual’ synthesizers (VST’s) which I enjoy using, including Arturia’s FM7, the excellent Yamaha DX7 emulation, which I used extensively on Ascension II. The original Ascension album featured the DX7 quite heavily and so it was truly great to revisit those old sounds in the new album. The freeware Synth1 plugin is also great, with a lovely silky sound, and I have a selection of other freeware VST’s that I use for other purposes, although like I said, raw instrument samples and effects are my usual elements of choice as they offer more control of the overall sound and dynamic than the virtual instruments. I have little else that I directly use for my own album productions, although I do have a Behringer MX9000 48 channel mixer and a Mackie HDR24/96 hard disk recorder, which tends to be used mostly by visiting musicians and during improvised and ‘live’ studio sessions. I can directly transfer recordings made on the hard disk recorder to my music PC, importing them into my Muzys DAW as samples which I can then layer into my music, but I have hardly done much of that yet to be honest. I have so much of my own material built up in Muzys now that I suspect I will have enough to keep me going for another 5 or 6 albums at least!

 Imagine my surprise when I found myself next to The Who. Nice.

Clifford White

John: During the past 25 years of your New Age music career you have used genre influences in Ambient, Epic, Latin, Jazz, Tropical, and even Classical.  What determines the varying influence in each album you produce Clifford?

Clifford White: I love all those genres of music and I am always looking for an excuse to create albums that contain elements of those styles mixed together into the general album concept. Also, I like to try and avoid repeating myself and so the aim of making each new album different from the one that has proceeded it really appeals to me. The way I see it, the whole concept of an album seems to be an entity in it’s own right, with it’s own style, mood and flavor, and once it is finished, it should appear to be a completed work, like a book or a film, and one really doesn’t want to mess with it, add to it, or detract from it with further musings which might simply repeat ideas present in the original work.

I tend to approach the production of an album with this in mind, and I try to pour as many relevant ideas into the same pot as possible, never to be used again. As the album gets further underway, the various track ideas tend to link together, much like chapters in a story, and after a while it becomes self-evident what is working and what is not, in context of the whole. Of course, it is usually nowhere near as easy as it sounds and believe me, I have certainly labored long and hard on tracks which are (unfortunately) later thrown out for not meeting the general concept, style or criteria for the album as a whole. In the end, I try to make the final result as complete and as cohesive a work as I possibly can.

John: Do you feel the success of your projects are primarily the result of simple hard work or more from your creative imagination?  Or what is the primary reason you have been so successful the past 25 years?

Clifford: You know the old saying that goes ‘one percent inspiration and 99 percent perspiration’? Well, for me it’s more like 15% inspiration, 85% perspiration, but that is still a lot of work! I find that the initial ideas for a track or a collection of tracks tend to occur quite quickly – in the heat of the moment – and this usually results in a collection of strong core ideas. After repeated listening, these ideas seem to become further refined in my own mind – almost as if the process of hearing a piece of music days or weeks later from it’s creation somehow changes it, making it more ‘real’ and familiar. It’s very strange. In any event these ideas, usually in the form of short instrumental loops or arrangements, start to shine through in their own ways, suggesting further developments that could be possible. I tend to wait this process out until I am really ‘chomping at the bit’ to get into the studio to work on a piece. When the urge gets too great, that’s when I unleash myself into the studio and get working. Thus begins the 85% perspiration! A huge amount of effort goes into the process as I am very fussy and critical about my music tracks. They have to stand the test of time, yet sound fresh and new. That’s not an easy thing to sustain when you have already heard them 100 times!

John: You have your current 2010 Ascension II – The Healing Touch and plan to release another project later this year.  Is this next album going to resemble more of an Ambient influence like Ascension II or more resemblance to your Epic Gods of Olympus?

Clifford: I’ll tell you a little secret: I have a 5 year plan to release two albums a year until 2015! Believe it or not, I already have more than enough material to achieve this – it really depends on how much time I will actually get to spend in the studio. With the first in this series – Ascension II – already released, the next album due out later this year will either be Atlantis – which will be another epic production similar to the The Gods Of Olympus – or an album currently entitled The Beach, which will sound a little similar to my past albums The Lifespring or Twilight Paradise with that slightly jazzy, ‘sun-drenched’ tropical vibe.

 I’ll tell you a little secret:

I have a 5 year plan to release two albums a year until 2015!

Clifford White

For 2011 I want to tackle two ‘Oxygene / Equinoxe’ type albums that I already have a great deal of material for. I have always loved the textures and moods Jean-Michel Jarre discovered whilst creating his early albums and have for a long-time wished he would revisit that sound. Unfortunately he did not, not even (to my ears) on his Oxygene sequel. I certainly would like to have a go! Following that I have a 2012 themed album planned (no big surprise there perhaps), and a sequel to The Beach, again for which I already have many track ideas. A couple more albums will follow and then as 2015 opens I will round the whole lot off with Ascension III, which will be the 30^th anniversary of the original Ascension and make 20 albums in total. It will be very interesting to read this interview in a few years time to see if anything worked out according to my plan. After that – who knows…?

B. T.: You have already told us a little about the Atlantis project. Is there anything more you would like to add?

Clifford: Atlantis will hopefully be completed by around August/September 2010 and released shortly thereafter. The title is a little misleading as, although the album has watery overtones, it is rather more upbeat and rhythmic than you might expect. Its closest comparison would probably be my 2009 album The Gods Of Olympus, at least in terms of its cinematic style and mood. I am quite pleased with what I have completed so far and like GODS, the album will have plenty of tracks to enjoy – at present around 12 – in a variety of styles and moods.

I am thinking of it as a kind of sequel to GODS, and there are certain similarities, perhaps not unsurprising as – from a mythological point of view – The Atlanteans and the Olympians are not-too-distantly related to each other.

B. T.: You are also an expert in web design, multimedia and video. As everyone knows, the internet has been a massive challenge for the music business – but don’t you agree that it has been mostly positive for a niche genre like new age music? Or?

Clifford: Overall I would say yes, considering that the Internet is such a fantastic medium for communication between musicians, producers and composers and a superb tool for music promotion and publicity that it has served ‘New Age Music’ extremely well in this regard. The flip-side however is that there is now so much music out there that it is impossible to find the good stuff!

I myself spend hours and hours listening to new artists, or past artists I had never heard of before, and much of it is not wildly original, not very satisfying. Don’t get me wrong, I do occasionally find some great music, such as Australis or David Wahler, but these are often exceptions from the norm. Blogs such as your own at NewAgeMusic.nu are fantastic ways to discover new music, although I must admit really that I find a great deal of New Age/Electronic/Ambient/Chillout music a little dull, although I always live in hope of discovering better works in progress. I certainly feel that the Internet provides for great potential in the promotion of this musical genre, and in fact I myself setup a website to attempt this last year called the New Age Music News which is going from strength to strength. So the future looks positive!

Visit CliffordWhite.co.uk!

Photographs by Jon Warren – Picture Copyright Clifford White

Craig Urquhart is an accomplished pianist having a renewed focus on quintessential travels into piano music that literally speaks to the heart by virtue of his current seventh Solo Piano composition.   Craig also aims to share reflective memories on this album with hopes of achieving mutual recollections which appear reminiscent to our own memories.

Within Memory is Craig’s classic memoir that takes a transcending tour into piano music that quickly becomes a meeting place to share moments of harmonious reflection, focusing on moments that everyone can relate to themselves.  Residing in New York City, his regional and United States concerts have also earned attendance with worldwide audiences on the airwaves and during performances in Germany, France, and Japan.

Telling of music influences like Classical greats Chopin, Debussy, Satie and Copland, an intriguing aspect about Craig is that he also tells of contemporary influences like Pop and Rock too, so a classic contemporary structure converges with an overall expansive identity in respect to his original compositions. 

Craig Urquhart holds a Masters Degree in Composition from the University of Michigan, and is a member of ASCAP, serves on the Board of Directors with the Lotte Lehmann Foundation, is a Whisperings Artist and voting member of the National Academy of Recording Arts and Sciences (  The Grammys  ) which speaks volumes about his comprehensive musical career.

Within Memory is an album well suited for telling much about Craig Urquhart’s harmonious directive for parallel unity and poetically becomes the equivalent memoir he openly shares with worldwide concert audiences, presented by a memorable and sincere narrative from the heart.

In The Afternoon is the preamble song of 10 for Within Memory, having a bright tonal cheerfulness recited by a frame of mind you will find engaging.  Before The Canvas exhibits a deeper tone and image by proficient piano chords modulation while stair stepping upward during ascending treble scales, changing perceptions with each layer.

Rapture is the benchmark showing a hopeful image to the conceptual pondering and lighter melody.  Laid Back has a nice feel by a treble melody concurrent with deeper bass octaves consistent rhythm while October Bright Blue recaptures a crisp and bright piano overture while making a distinction midst the two songs. Low Tide is the deep flowing melody with pause and intonation nicely enriched with hopeful optimism and song I favored most.  Prairie Flowers flourishes into a gently moving melody while traveling to and from, given the preceding treble notes lead the closely timed counter bass notes while held in a subsequent role.

Within Memory ( Title Song ) concludes the album recital for the listener, but for Craig Urquhart it begins an arranged lineup for abundant visits to many countries during his role as an esteemed  concert pianist.  Later this year Craig is scheduled for concert recitals in the United States, Berlin Germany, Positano and Rome, Italy.

 I am certain the concert events slated for this year will be another wonderful social meeting place for notable entertainment along with an exchange of lasting memories for everyone, especially for Craig Urquhart.

Visit craigurquhart.com to sample / purchaseor visit his CDBaby.com page right here.  You can also read his biography page and visit his MySpace.com page.

Picture Copyright BigStockPhoto – aysarts

Each month New Earth Records presents an artist biography for one of their artists. This month it is the very talented Dechen Shak-Dagsay. Her music has a strong healing element – which can be heard and felt in her most successful album to date; the 72 minute long Dewa Che, Universal Healing Power of Tibetan Mantras.

The biography starts with these words:

Dechen Shak-Dagsay was born the same year her parents fled to India due to the Chinese occupation of Tibet in 1959. She is the eldest daughter of the late Yishi Tsedön Zatul and Dagsay Tulku Rinpoche. Together with her family Dechen grew up as one of the nearly 2,500 Tibetans residing in Switzerland. Her family played an important role in founding the Tibetan Institute of Performing Art for Switzerland and Dechen was the youngest member of the group.

Read it here. She is a truly fascinating artist – and very talented! I think there are too few Asian new age music artists.

Peter Buffett is promoting his new book , Life Is What You Make It.

Here is a nice interview with npr.org. Enjoy!

Through the internet artists can come together and establish contacts, talk about music and find new creativity. In 2008 new age music legend Suzanne Doucet formed a forum on Ning.com which today has over 800 members! This forum has also given life to a unique music project called Sounds from the Circle – and now the second installment in this series has been released.

The music is released on an on an mp3-disc and on iTunes music store (note that the second installment has as of today not been made available). The compilation contains 40 songs, and some of the finest artists in the genre are participating  – like Fiona Joy Hawkins, Lawrence Blatt and Anne Trenning.

This compilation will be played extensively on New Age Stars and Sky.fm New Age channels in the months to come – so you will all be enjoying this fine release. 

Visit the forum here and do become a member! The forum also has a dedicated Youtube channel.

It is interesting to see how New Age Music can be considered to be “a special sound”, like a musical doorway into something divine and heavenly. An example of this can be seen in the quote below about the ancient Lute instrument in the Washington Examiner:

“Everything old is new again as the Bach Sinfonia and lutenist Ronn McFarlane perform Vivaldi’s Complete Works for Lute and the world premiere of McFarlane’s “Firedance” at the Takoma Park/Silver Spring Performing Arts Center. The lute has incredible variety and malleability,” Ronn McFarlane says. “At some point in history, it was described as a folk instrument of high art that transports the listener to a high consciousness. That sounds like something you’d hear about new age music, but it’s true. The lute is not just an instrument of the museum and ancient times.”

Wherever he performs, he wants the audience to leave filled with vitality, because the role of music is not merely to entertain, but to lift spirits, he hays. The lute, he promises, enables that to happen.

Read the article here - and check out Ron McFarlane’s homepage here.

Going along with Enigma‘s 20th anniversary after the first “MCMXC a.D.”
release in 1990, official homepage EnigmaSpace wants to celebrate this special year with its fans worldwide.To kick off the “Enigma Year” they invite everyone to send in their wallpaper creations themed “Enigma’s 20th Anniversary”.

EnigmaSpace is looking for creative, high quality and extraordinary work. A jury of Enigma’s management and Michael Cretu himself will choose the Top10 creations and feature them exclusively within the Fanlibrary section on www.EnigmaSpace.com. The Top3 will win a signed copy of the current “Platinum Collection” release, a compilation of Enigma’s most famous singles, remixes and unreleased tracks.

Solo instrumental albums are a natural source of personalized music, so when two reputable soloists merge their individual talents, their alliance from soloists to duettists can become an even more valuable source of personified music for everyone.

Devin Rice & Erin Aas are seasoned musicians already recognized by their proficient styles as individual artists now emerging as a team that writes and performs original piano / guitar and finger styled guitar duet compositions with hand selected musicians adding polished accompaniments on their new release titled Arrival.

Residing in the state of Washington, Devin & Erin had also traveled to Imaginary Road Studios in rural Vermont to enlist the expertise of Grammy Award winning Will Ackerman, so the level of quality on the album’s production retraces their visit to a highly specialized destination.

Arrival is an album where Devin plays piano in addition to guitar along with Erin, showcasing their 15 song compilation that is adventuresome and symmetrical from the first song to the last.  After meeting for the first time several years ago, I felt their earlier mainstay as professional soloists has been doubled and enhanced using simple math, along with their broad variance in individual styles.

Devin Rice & Erin Aas, have selected skilled artists along with Grammy Award winning producer Will Ackerman, to emerge as a fortified musical team, and by virtue of each artist’s specialized skills, has attained a winning strategy with Arrivial.

Thyn Ayre is the crisp beginning song that sounds like a down to earth journey put to sheet music, like Procession, where a wonderful just right feel becomes the standard atmosphere.  These folk styled narratives flourish during the piano and guitar duets set in a moderate tempo like most of the 15 songs.

Borderline is a breezy guitar duet by Erin and Devin, while their Tribute to Robert Frost expresses a more stately approach that includes percussion rhythms backing majestic piano melodies with subtler acoustic guitar highlights.

Lively acoustic guitar and percussion rhythms are heard on the memorable song Nevada, while Something About A Harbor has piano lead in for guitar, with rich melodic tones showing depth in a natural way.  Perdido En Granada, Lullaby For Now & For JB are gentle and more introspective songs with English horn and cello support that compliment the pleasing atmosphere.

Whiskey In The Watertower is truly spirited and a nicely coordinated guitar duet, featuring Will Ackerman on the final guitar solo that resembles Pulborough Spring by taking an up-tempo direction from the primarily moderate paced piano and guitar duets with instrumentals.

Rich cello harmonics are the scenic backdrop in songs, Morning With Annie, Southern Breeze, & Stars of Winter, with the latter song taking an adventurous free flight expression during the melody and refrains that gently lands with guitar, cello, and piano uniting in an ensemble.

Although solo albums are a mainstay and pleasing source of enjoyment, Arrival is a nice departure from singular solo albums given the enriching instrumentals and contrasting styles of the two principal soloists. 

This departure notably doubles the harmonic value for the listener, along with Devin & Erin who have doubled their musical achievements together as a team, and as individuals.

Additional musicians include Derrick Jordan on djembe with Eugene Friesen & Traci Hoveskeland giving cello performances on several tracks.  Jill Haley lends her talents on English horn and Will Ackerman is featured in the final guitar performance.

Visit devinriceanderinaas.com to sample / purchase or at their CDBaby.com page.  Click on their biographies page to read about their backgrounds and how it all began.  If you would like to visit the Imaginary Road Studios go to williamackerman.com right here.

Picture copyright BigStockPhoto – MelMcNaughton