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.

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.

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

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.

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.

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.

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

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

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

 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.

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.

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

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

“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.

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.

Looking at the most recent new age music history, the release of Mike Oldfield’s “classical music” album Music of the Spheres was a massive event. Not only did it promise brand new acoustic material well outside the crowded Tubular Bells-universe, but also a handful of world’s finest artists; pianist Lang Lang and soprano Hayley Westenra, conductor Karl Jenkins and the complete Sinfonia Sfera Orchestra, all participated on the album. Yes, it was massive.

Still I feel that the album came, got some nice PR and reviews in main stream media, and disappeared. (Yes, I know that this is the fate of many albums. There is just so much music being published today, and all music of the past is available at our fingertips too). Again; Brave New World.

But one year ago I saw this post over at the Tubular.net forums and it got me thinking, posted by the user: TheMann:

It is now about a year since I first listened to Music of the Spheres. Then, I was stunned by how ambitious this work really is, and I quickly felt in complete love with this masterpiece.

A year later, nothing has changed for me: I find nothing in Mikes output as emotional as this full-length, far-reaching orchester piece. Quite remarkable words, having in mind that Mike wrote (many) other eternal masterpieces, e.g., Ommadawn. Now, let’s not argue what work is his finest; It’s all down to taste.

Listening to it now, today, nothing has changed for me either; Music of the Spheres is still an awesome album in all respects. It is far-reaching and quite remarkable, like previous classics. Interestingly enough, the latest review of this album is written by Mike Oldfield’s wife, Fanny Oldfield – this too on fan page Tubular.net:  

It is something that has to be said about Mike’s music, it always makes you feel something…it is not like any boring track that is almost invisible. Mike’s music stays with you, tells you a story, brings emotions and gets your heart to beat faster.

If it is love for Mike or his music that makes her heart beat faster remains unsaid. My point is only that Music of the Spheres is an album not to be missed. And if I dare to make a conclusion about music in general based on this; it is not that too much is being released – it is just that all the music of the past also is so accessible today. This is great news for anyone, like me, that enjoy to dive into oceans of music and experience what’s there. But we will not get new Tubular Bells – that is; famous works of art that live on and on – but we will get just as great albums that doesn’t get famous.

Even when they are awesome, and created by someone famous.

Just like Music of the Spheres.

See the 8 first minutes of the wonderful Spheres below:

May 7: Concert – Findhorn, UK
May 11: Concert- Manchester, UK
May 14: Concert – London, UK
May 16: Workshop – London, UK
May 18: Concert – Stockholm, Sweden
May 20: Concert – Riga, Latvia
May 22: Satsang – Baden-Baden, DE
May 23: Concert – Baden-Baden, DE
May 24: Workshop – Baden-Baden, DE

See the rest here.

Likewise, many of our most popular genres greatly influence the atmosphere, tones, and rhythms  of New Age subgenres to help create a perfect balance in modern music by becoming a liberating escape from more traditional forms of Ambient music.

Balligomingo is one artist title where Contemporary Instrumental, Alternative, and Ambient, reveals an effervescent intermingling with New Age.  The album producers Garrett Schwarz on guitar and Vic Levak on keyboard, along with lead vocalist and songwriter Jody Quine, have enlisted guest vocalist Rebecca Ramone on several songs, to create a sensational new vision and exciting unification in ambience you are sure to find enticing.

Under An Endless Sky is the 2010 release by Balligomino via the Chrysalis Music Group.  This current follow up to their critically lauded 2002, BMG / Windham Hill debut album, Beneath the Surface, is another album I was already familiar with years ago and still enjoy today. 

Balligomingo is one artist title where Contemporary Instrumental, Alternative, and Ambient, reveals an effervescent intermingling with New Age.  Their enchanting escape incorporates attractive female vocals, acoustic guitar melodies, and percussion structures that elevate beautiful yet non conforming ambient rhythms.  Rhythms you will find fresh and energizing.

The multinational band membership is based in Canada and the United States, so distances for members are miles apart and uniquely independent since each performer electronically relayed their unhurried contribution to the album’s construction, verses a studio mix.  This approach has noticeably led to a uniform performance of quality from each member, with appreciable care given on each individual musical contribution.

Under An Endless Sky features 12 songs with modern up tempo rhythms and pleasing vocals that easily provide a timely retreat from more traditional New Age renditions, and most importantly, Balligomingo consistently produces beautiful songs New Age and Contemporary Instrumental fans will easily embrace.

Showing a casual atmosphere with every song on the album, Spinning stands out as a modern representation, where guitar and keyboard ensure the surface reflections of light and color while backing alluring vocals contrasting the imagery of the mood with dreamy idealistic lyrics about endless possibilities. 

I Just Tell Myself is an appealing and melodic song that outlines an intimate picture by the rose colored lyrics and resonating guitar rhythms with strong keyboard chords during refrains, likened to the deep synthesizer posturing in A Beautiful Day.

Under An Endless Sky ( Title Song ) Letting Go & New World rely on light and passionate vocals with nicely balanced instrumentals to nurture moderate tempos showing a partisan likeness towards the overall glowing attributes one will experience throughout this entire album. 

Over You illustrates a soulful groove rhythm by acoustic guitar that is soon personified by vocalized countermoves defining the relationship intimacy by lyrical viewpoint, while Goodbye retraces more progressive styled guitar runs.

Sunshine In Rain is a motivating up-tempo song with percussion making the early moves leading into strong guitar chords taking the song in an enthusiastic direction.  Passionate vocals show a harmonic likeness to bright sunshine throughout the song verses, before keyboards ambient chords become the fading clouds while closing out the song.  

 Balligomingo relies much on enthralling and quality rich vocalists to display their picturesque musical surface, with deeper ambient imagery from instrumental and percussion displaying the pleasing atmospheric rhythms that brings everything together.

 You might have noticed Balligomingo has a pretty album cover, but rest assured that the attraction does reside within the packaging.  There you will encounter the true attributes of Under An Endless Sky, along with this striking Canadian and American group that also stands out as a natural beauty.

Additional writers on this album include, Michelle Lewis and Patrick Upton Jr.  Additional acoustic guitar and piano include, Jerry Sintich, Geraldo Dominelli, and Zirque Bonner.

Visit balligomingo.com to sample / purchase then find out more about their performance tours, and read their biography page.  Visit their MySpace page here.

Meditation is not about solving all your problems, but that is actually its side effect. The techniques used to reach the inner space of stillness and silent witnessing, which is the nearest you can get to describing meditation, turn out to be perfect for dealing with all the things we don’t like, don’t accept, in our lives.

Read it here.

One such artist is David Arkenstone. He always has something new and fresh for us. This time around we have four new titles that in different ways show his musical genius.

Together with two talented photographers, David Pettit and Chuck Summers, David Arkenstone has created music for two DVDs entitled Magic Light of the Colorado Plateau (with Pettit) and Seasons of the Great Smoky Mountains (with Summers). These will give you a total nature experience from the comfort of your living room, accompanied by beautiful music. Arkenstone also has a new CD with the title Celtic Chillout – this time with a blue castle as the cover! About this album mr. Arkenstone says:

I had fun with this one. I combined my love of Celtic music with my love of putting rhythms together. The end result was pretty cool, I’ve heard…..

And lastly, the new Best of David and Diane Arkenstone album is now out. 16 of the best songs in new age music are now available on one disc.

You can read all about these recordings on David Arkenstone’s webpage – and make sure to follow him on Twitter and Facebook too!

So yes, 2010 is turning out to be a great year for all David Arkenstone fans!!

Amazon.co.uk has now begun taking pre-orders on the Deluxe Editions of these albums. According to their track lists, Hergest Ridge includes In Dulci Jubilo (For Maureen), Spanish Tune and demos of Part One and Part Two. Ommadawn includes a ‘lost version’.

They also have a single disc edition of Ommadawn, which includes In Dulci Jubilo, First Excursion, Argiers and Portsmouth, plus there’s a single disc edition of Hergest Ridge which currently has no track listing.

The release date is May 24th. There will also be vinyl editions available.

Source: Tubular.net

Jillian has now produced two vocal demos that you just have to check out. One is an orchestral singing demo and one is in contemporary genres. You can check them out here. She is just so talented.

Something I find just as inspiring are the true life biographies of the artists themselves and their individual success stories that sets them apart from all others, and what may be revealed in their futures.  I find their innermost passions and true life stories of their careers incredibly powerful and real.

Clifford White is a musician living in the United Kingdom defining our New Age genre in many respects, and if you knew the significance of Clifford’s story, you would agree we can expect more contributions in the future.  His 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 who greatly influenced our primal genre in the process.

Ascension l l – The Healing Touch on the MG Music label is his 2010 sequel revisiting the very essence of his younger creative spirit, now with newly enlightened perceptions as an acclaimed artist.

 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 genre.

The true story of Clifford White is unique from so many artists since he began a recording studio while retaining producer credits on 26 albums, founding the music magazine Sound Waves and the New Age Music Association ( NAMA ) persevering even more where he and top artists began promoting our genre by concerts and individual recordings during the early years.

Ascension ll – The Healing Touch has a reverent infusion into 9 classic songs, ushered in by A Blessing, where mid tempo bell tones unite in a gilded keyboard melody rising to embrace a peaceful interlude in mind calming ambiance.  Orchestra stanzas enter a rich fullness in depth, giving a gentle swaying motion which readily personifies the aesthetic legacy of his insight into a genre promising peace and tranquility to all. 

Eternity denotes wonderful orchestration with flugelhorn articulating an offertory role in a gentle concerto.  Chimes and keyboard form an abstract atmosphere with chorals that lightly crescendo into a proclamation of relaxed contentment, while Luna adheres to a steady rhythmic keyboard pattern as upper octaves support a light shimmer to an already glistening theme.

Sanctuary gives retrospect imagery of the song Hallowed Ground from the first Ascension album, where songbirds begin verbal episodes of their creative entity, lightly recalling a past heritage.  The new melody in Sanctuary now signals in peaceful orchestra illuminations where bells signal in light contrast to a calming melody while songbirds again give a final repose about the common ground shared in melodies during the past 25 years.

In a counter beat melody, Reawakening joins with strings, soprano choir, and percussion woodblocks in a peaceful realm, while The Answer & The Power Within embrace ethereal sensations in synthesizer projections that evoke supreme auditory notes, residing in high melodic textures that reach for the stratosphere in harmonic purity.

The Healing Touch ( Title Song ) is a lightly ascending piano melody where an invocation with celestial harp gently strums a transcendent likeness, remaining well versed with the ethereal theme.

 Ascension  ll bestows another great testimonial to the aesthetic values of Clifford White and his time tested principal leadership towards a music genre that promises peace, relaxation, and calming tranquility with every defining moment.

Clifford currently presides over his multi faceted 21st Century New Media Ltd business, specializing in media consultation of Internet, film, software, television, and media related training courses, having also designed the Medwyn Goodall MG Music.com website.  In addition Clifford has created the New Age Music Network social forum and operates his New Age Music News website.

Visit cliffordwhite.co.uk to sample / purchase  Ascension ll and then be sure to read the full biography on Clifford White.  Here is his dedicated page at our website.

Picture Copyright BigStockPhoto – dndavis

This year Clifford White has something truly different in store for us; The Healing Touch – Ascension II. It is just as laid back and chilled as The Gods of Olympus was dramatic. In other words; totally different. White is proving that magic also is to be found in the most gentle of sounds.

Indeed, you might argue that The Healing Touch is not all new. This is because it actually is the sequel to one of the most successful new age music titles of all time: Clifford White’s debut album Ascension (New World Music, 1985). This album did not have a subtitle about healing like the new release, but nevertheless people all over the world has been aware of the album’s  healing properties since it was released back in the golden age of new age music. It truly is a pillar, both in the genre and in Clifford White’s discography.

Clifford White is proving that magic also is to be found in the most gentle of sounds.

What makes The Healing Touch so special are the carefully crafted layers of sound. Like on all White’s releases there are strong melodic elements – the lead instruments here are flute, harp, synth, bright piano and a nice selection of analogue sounding synths. But that is just one layer. In the background, much less audible, are quite extraordinary synth strings and bass effects that just takes my breath away (yes, I know, I’m a 80s type of synth fan – and proud of it ). This is where the gentleness and healing is to be found. Most tracks are without a distinct drum beat (except for track six, Divination) – which makes it great for massage or chill out sessions after a hard day at work.

There are two types of tracks on The Healing Touch album. One is the chilled and positive type (for instance track 3, Luna). The other one is the almost sacral, larger-than-life type that makes one think of Vangelis’ best moments or Patrick o’Hearn (for instance track 2, Eternity, or track 9, The Answer). White’s magic is in the combination of these two worlds of sound, creating a package that is simply irresistible. Here Clifford White is just as chilled as on his compilation, An Island Called Paradise.    

It is hard to select one favorite track on the album, but I instantly fell for track 3, Luna. It makes me think of Tangerine Dream’s new material, and it is just as good – the piano part in the end is played with force and integrity. I’m sure Edgard Froese would agree. I also enjoyed the very deep bass and light high hat rhythm.

Last year’s album, The Gods of Olympus, is just so impressive and complex – but clearly not for everyone. In this way The Healing Touch is different; this is an album that almost everyone will find enjoyable. It is just so relaxing, so warm.

After all, we all need a healing touch from time to time…

Sample the album on Clifford White’s homepage. 

Picture montage copyright Clifford White.

Scallon, a former actress who has shared the stage and screen with actors like Liam Neeson, Glenn Close and Cate Blanchett, was called to open her private healing practice in 2000, after a life-long history of personal spiritual experiences. All seven Sounds of Sirius CD recordings have evolved directly from the Irish-born Scallon’s Light work known as Healing with the Sounds of Sirius. Each recording is a healing modality in its own right, available for people to use in the sanctuary of their own homes.

“These sacred harmonics are a Song of Love for humanity at this crucial time in our evolution, Divine assistance to help us flow with the major change in consciousness that is occurring on our planet at this time,” she says. “Each CD is a journey of about one hour; a ‘healing’ that has been channeled through from Spirit in the recording studio in one take. Ideally, one dedicates time to receive the full healing, at least for the first listening. An excellent alternative is to fall asleep to them each night. As the conscious mind is released, relaxation and rejuvenation can take place at a very deep level.”

Visit TheSoundsOfSirius.com or read the press release on PRWeb.

Sa, June 12th, 20h
Schwaz/Tirol – Germany
Woodroot-Festival

Fr, July 16th, 20h30
Gutenbrunn/NÖ – Austria
Bühnenwirtshaus Juster

Sa, November 20th, 20h
Pressbaum/N.Ö. – Austria
Sacre Coeur

And if that wasn’t enough, Gandalf has this exciting news to his many fans:

Currently Gandalf is working on the composition of a new orchestral project which is planned to be released on CD and performed live in Vienna on the occasion of his 30th Anniversary in 2011.

So yes, Ganfalf fans has a lot to look forward to! And while you are waiting, see the excellent video below from last year where Gandalf is performing together with  Merike Hilmar (cello) and Christian Strobl (percussion), who both also contributed to the recording of Gandalf’s album Sanctuary.

See more on Gandalf’s homepage.

E.S. Posthumus’ music is hard, fast, melodic and very dramatic. All the 15 tracks on the album is like the Requiem for a Dream soundtrack; dark and hard-hitting.

It might not sound like new age music right away – but give it some time, and you’ll hear that it actually is close to the group Era in sound  – but a bit harder and without the Gregorian samples.  

It is not for meditation or quiet moments of reflection. But if you need a soundtrack for your morning jog, this is perfect. Simply perfect. Angry new age music?

Sample the album on CDBaby.

As a follow-up to the interview, John Adorney has been invited to a meet-and-greet  cruise on May 16th.  This is a monthly event put on by DJ and KSBR, and it’s hosted by the ocean institute in Dana Point, CA.  The boat leaves harbor at 10am, and ventures out into the waters where incredible sea life can be seen – whales (it’ll be great blue whale season), dolphins, sea lions, etc.  Adorney’s music will be played through loudspeakers over the waters.  More information will be posted on the website ocean-institute.org

The new songs are Oasis Moon and Inner Journey.  

And while we are talking about Karunesh;

make sure to visit his great website for samples from all his many albums.

Because this recording utilizes microphones in the space, along with a small blend of the sound board mix, the audience is sometimes heard, as it’s all a part of the living breathing space created that evening. I made the choice to not include any audience response or applause at the conclusion of the concert, since outside the live context, ending the recording into the deeper silence felt more appropriate.

Disc one is called Embracing the Space and disc two Merging with Grace. This is truly epic music that transforms a gray day into something larger-than-life; listening to it feels a bit like embracing space and eternity.  

If you buy the album from Steve’s shop, he will autograph his CD’ by request at no extra charge – and they are sent you from Steve’s house in the Sonoran desert!

Sample it on steveroach.com