Album Spotlight: The Pale Blue Dot by Terry Lee Nichols

Review by Marilyn Torres

Standing firmly on both his solid music as well as his technology education, Terry Lee Nichols explores the many-faceted angles of our universe and human existence through his latest album The Pale Blue Dot. While it may seem like a daunting task, Nichols embraces the vast and endless galactic realm together with the minute and delicate human connection, through his compositions.

The opening track “In the Beginning… (Quantum Fluctuations)” starts with soft, chant-like suspiration that fades into presenting strings. The pitch rises and then softly descends as the piano enters and continues the journey accompanied by the harp and flute. The feeling of dawn and layered awareness, sustain the piece as it ends on a climbing piano note.

Moving forward from our expectant introduction, the second piece, “Cosmic Dark Ages” filled me with a sense of calm as I envisioned stark space with no demands of form and function; just a waiting period. Nevertheless, on the following track “First Stars” we witness the birth of the illuminating spheres, first with twinkling piano keys from the six pianos commissioned for this piece, overlapping faster and faster, and then yielding to the thundering entrance of the drums and French horns. These in turn, yield to the returning twinkling piano keys and suddenly a vibrant Latin mix fills the scene with life and energy, which made me want to salsa for a moment, before yielding for one last time to the twinkling keys. What fun!

On “Stardust (Clouds of Gas and Dust)”, there is a steady determined beat as of moving parts, with the piano, and then we hear the vocals by Rebekah Eden mid-way and at the culmination, giving the piece a softness to contrast the working pace.

In “Asteroids” Nichols gives a nod to his classical music training by including the introductory "Piano Concerto #23" by Wolfgang Amadeus Mozart. The piece gives way to an electronic beat and together the two circle back and forth until the climactic lift-off and fade, which makes way for the end of "Moonlight Sonata" by Beethoven.

The overall sense of growth and change continues with “The Cambria Explosion”, and in “East of Eden” we are treated once more to Rebekah Eden’s lush and soothing vocals. Nichols displays his conviction of how music can enhance all aspects of development through the expressive tone of “Child’s Play”.

“Memories of Love” with its dedicated transitions forms an image of all the pieces in the timeline of a life filled with highs and lows. The familiar, steady strike of the piano keys repeats throughout and on into the conclusion of “Global Warming” as if to bring home a crucial directive.

For the final and main title track, “Pale Blue Dot (Train to Dachau)”, Nichols introduces the strong sound of a train whistling as it barrels down its track and fades into the gentle strings. After a reflective piano solo, the piece plays some of the “Greetings from Planet Earth” included in the Voyager space mission and then we hear Carl Sagan recite the namesake speech; a quite fitting close to an ambitious and soul-soothing musical journey.

~Marilyn Torres for Aural Awakenings

For more information please visit the artist's website. The Pale Blue Dot is also available at Amazon, iTunes and more!

New Release: Revelation by Kelly Andrew

Review by Lissette Cascante

Acclaimed composer and recording artist Kelly Andrew has received world-wide recognition and prestigious awards for his numerous compositions in various genres and styles ranging from EDM, world, pop, jazz, contemporary instrumental, to epic orchestral music for TV and Film movie trailers. It is obvious that Andrew enjoys influencing listeners around the world with his musical creations. His previous 5 albums Olympus, Reflections, Epoch Dawn, Journey, and Rendezvous showcased his musicianship and elicited rave reviews from listeners of many backgrounds.

With great anticipation I awaited the release of his new album Revelation which was several years in the making. The album release was worth the wait as the music captivated and engaged me from the start. For me, the listening experience took me to worlds within our world.

Revelation is like watching a movie, except in this movie you get to be the star. It is an expedition of the senses and the soul to a place or places you imagine, with the composer, Andrew, as our guide and director. The purpose of the journey is unique to each individual.

“Revelation” opens slowly, as if preparing the listener for the story that is about to unfold; building intensity as the listener’s journey begins. Symphonic orchestrations and strong vocals throughout allow the listener to create their own experience. The clever song titles reveal clues of what we might encounter along the way. The third track “Spark of Life” offers a fantasy-like scene infused with dramatic sequences while the fourth track exudes compassion for “Humanity” and all its complexities. A flute comes in unexpectedly, drums and percussion convey a sense of wonder and discovery as indigenous sounds and vocals interspersed serve to bring our picture into focus.

Dramatic and suspenseful scenes unfold in tracks like “Escape”, “Manifesto”, “Material Sons”, “Sage of Salem”, and "Rebellion" with its defiant electronic infused sounds, conjure up images of dangerous encounters, battles for survival, enduring hardships, strange lands, friendship and larger than life beings.

“Onagar”, with its beautiful introduction, has an almost ambient-like, world sensation. Native flute and drums transport us to faraway lands, as we trace the footsteps of past civilizations. While “Arrival” implied for me a sort of cave-like environment with its mysterious echoes and vibrations which lead to a more aggressive and excited crescendo of wind and stringed instruments, powerful drums, and a dramatic, “cliffhanger” ending.

Flute, harp, cello, quiet strings, and soft waltz rhythms in "Days of Van", invite us to rest after the battle, and regain our strength. As we continue our solitary sojourn we discover “The Garden”; an exquisite blend of vocals and orchestral instruments creates a magical moment where light and hope meet and kiss.

“Regret” begins with a haunting, sprinting piano melody which builds up powerfully with choirs and strings. High-pitched vocals convey inner torment with strings and drums supporting the emotions giving way to ultimate surrender. “Veil of Tears” is a short but sad, slow piano melody, enhanced by beautiful string arrangements as symbolic piano “tears” heal the soul.

“Samaria” is my favorite track on the album. This magnificent piece begins with an ethereal but earthy sound experience as a transporting, melancholy, duduk-led melody challenges our emotions and speaks to our innermost passions.

We arrive at our final destination with “Divine Embrace”. Reconciling with the past present and future. Discovering the truth of our existence, embracing the Divine and finding true peace.

A musical masterpiece for the inquisitive and adventurous imagination…

~Lissette Cascante for Aural Awakenings

To get this album please visit Kelly Andrew's website. His music is also available through Amazon, iTunes and more. 

Album Review: Merry Christmas by Giuseppe Dio

Giuseppe Dio is an Italian electronic music composer who’s explored everything from deep space to dream house on his previous recordings. This time around, he eases comfortably into the holiday spirit with a lovely 24-minute EP that’s simply titled Merry Christmas. Rendering six compositions on electronic synthesizers, Dio has selected a very fitting collection of songs that all beautifully complement one another.

Processional drums, soaring synths and celestial vocal tones majestically open “Adeste Fideles” (aka “O Come All ye Faithful”) which is eventually followed up by the much beloved “Auld Lang Syne”. Vividly conjuring images of decorated cathedral halls and colorful Christmas lights, Dio’s symphonic electronic arrangements pleasantly recalls much of Vangelis’ more cinematically oriented works.

I was most delighted to see a rendition of Franz Schubert’s iconic “Ave Maria” included here, as I’ve always found it to be one of the most beautiful pieces of religious music ever written. Dio puts an epically cosmic and wintery spin on the composition, all while perfectly preserving the sacred reverence of the original masterpiece.

Another highlight is the nocturnally peaceful “O Tannenbaum” (aka “Oh Christmas Tree”) which wraps the lead melody in spacious notes and twinkling stars, effectively conveying a cold winter’s night.

Call it “new age Christmas music” if you like. Either way, this fantastic little collection of cinematic cosmic carols is easily one of the most enjoyable holiday listens of the season! ~Candice Michelle


For more information, please visit the artist's website. This EP is also available on Amazon, iTunes and other retail and streaming platforms.

Album Review: Songs Without Words by Gerhard Daum

Gerhard Daum is an acclaimed guitarist, multi-instrumentalist and award-winning film composer whose most recent album, Songs Without Words, deftly defies strict genre categorization. Incorporating stylistic hallmarks of blues, jazz, classical, ambient, progressive rock and soundtrack music, these elements are seamlessly melded together, while his innovative compositions showcase expressive electric guitar melodies accompanied both by electronic and orchestral arrangements.

Featuring twelve songs spanning approximately 41 minutes, Daum keeps his compositions to under the 4-minute mark, as the musical narrative moves through a dynamic range of atmospheres and emotions like the exhilarating score to a TV action or drama series unfolding.

The opening piece, “Berlin Song”, is a moody number that delivers some bluesy guitar, cinematic strings and lush ambient pads set to a downtempo pulse. The sensuously subtle “Talking Softly” soon follows with a mysterious ‘noir lounge’ vibe, which seemingly paints black-and-white images of an old city street thinly veiled in a nighttime fog.

A few tracks later, “Gold Rush” heats up the audio space with a soaring guitar lead, symphonic strings and odd-time signature beats. Once again reverting to Daum’s softer side, “Timeless” ensues with a sultrily sleek arrangement that would render this piece nicely on an eclectic smooth jazz playlist.

Further down the line-up is another personal favorite called “Walking on Clouds”, a piece that slightly recalls Brian Eno’s iconic “Deep Blue Day” with its bluesy ambient soundscape. And finally, “My Foolish Heart” beautifully wraps things up with a winding guitar riff, cinematic strings and moderately paced drums that all bring it to a reminiscing yet celebratory conclusion.

An innovative offering of enjoyably eclectic instrumental music, Songs Without Words is an album without categorization that will appeal to listeners who possess a diverse range of musical taste! ~Candice Michelle

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

Spotlight: Rising by Vicente Avella

Vicente Avella is a Venezuelan pianist and composer who’s scored numerous independent films, as well as orchestrated and worked on music production for major network television shows. In 2013, he released his debut solo-piano album, All the Days of My Life: The Wedding Album. Vicente’s sophomore album, Rising, incorporates additional instruments and styles into the fold with its varying arrangements of piano, strings, guitar, percussion and electronics. Comprised of eleven songs spanning approximately fifty-seven minutes, the album beautifully showcases an overall compelling range of emotion, enthusiasm and passion.

“Yours” opens with gently waltzing piano chords that are played in a repeating pattern with the left-hand and accompanied by a subtle swell of strings. Soon entering the composition is a piano melody initially comprised of single notes played with the right hand, as this combined arrangement becomes increasingly fuller with the composition overall swaying gently to and fro. Subtly brightening the mood a bit is “For Always”, a comparatively more fluid piece that boasts a repetitious stream of piano chords within a melodic ensemble of strings, as starker, sparsely-placed piano notes perfectly lend bolder accents along the way. One particular highlight is the title track, “Rising”, which showcases beautifully resonating piano chords within a mostly minor-key motif. Entering periodically throughout is a stringed percussive type of rhythm that lends the composition an infectious power, as it proceeds along in a galloping fashion that overall conveys both a sense of cinematic drama and pensive thought. The ensuing “Daybreak” is an expectedly optimistic and engagingly lively piece, which boasts a more contemporary piano melody amid a dynamically colorful string arrangement.

Another notably intriguing piece is “I’m Ok”, which features a buoyant arrangement of piano and violin that’s underscored throughout by a steady, staccato drumbeat. Likewise notable is the lengthy “Looking up at the Sky”, which clocks in at nearly ten-and-a-half minutes. One of my favorites, it mesmerizingly moves along like a rushing river, eventually picking up course at about the midway point before winding down to another pause of calm towards the end. Another highlight is the aptly-titled closing piece, “Turning off the Noise”, which is perfectly understated and somewhat minimal, as drifty piano notes hover in the mid-to-higher registers amid softly suspended strings emanating from the lower range.

Sure to appeal to a variety of listeners although especially those who enjoy classical-crossover styles, Rising is an impressive fusion of neoclassical and contemporary instrumental music that's wrapped in both passion and elegance! ~Candice Michelle

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

Spotlight: Ascension, Niguma, Vol. 2: The Mantra Project by Sangeeta Kaur

Sangeeta Kaur is a Vietnamese-American trained opera singer, mantra singer and music producer. On her third album entitled, Ascension, Niguma, Vol. 2: The Mantra Project, she is joined by acclaimed producer Nicolas Neidhardt, The Hungarian Studio Orchestra of Budapest and several guest musicians – thereby collectively bringing a listening experience described as a “fusion of sacred cinematic mantra music, yoga, dance and storytelling”.

Comprised of ten compositions spanning 43 minutes, the album variably interweaves classical, opera, mantra, world and adult contemporary music, and features instruments such as harmonium, keyboards, bass, percussion, electric and acoustic guitar. In addition to the album’s main highlight of Sangeeta’s soprano vocals, are the ceremonious sounds of cinematic orchestra and symphonic drumming that are prevalent throughout, which effectively convey the notion of experiencing a live stage performance.

The album opens with “All Space and Time (intro)”, which serves as a brief atmospheric introduction featuring some indiscernible, soft-spoken word. Leading right into “Niguma, I Bow to You”, this piece is characterized by its gentle orchestral arrangement, as Sangeeta delivers a lyrical melody in English and wordless soprano vocals on the chorus with a bit of “OM Shanti” intonations towards the end. I’ve always been especially fond of the Armenian Daduk which also intermittently accompanies the main melody throughout. “Dream Tunnel” follows next and is probably my favorite piece herein, as wordless ethereal vocals glide across cinematic drums, crystalline textures and sweeping orchestration. “This Beautiful World” ensues with some added acoustic guitar and a brief vocal appearance by West African singer Kasse Mady Diabate, as Sangeeta delivers the main melody in a reminiscently praise/worship style.

Sangeeta also showcases her impressive operatic range with a rendition of the famous Italian-language soprano aria, “Lascia Ch’io Pianga”, which is accompanied by the aural grandeur of a full symphony orchestra. “Samsara’s Tango” eventually proceeds with some more operatic vocals, dramatic violins and thundering percussion. Easily one of the album’s most defining moments, it artfully combines opera, tango and classical-rock music.

Finally, we conclude with “Ardas Bhaee”, a piece that features layered vocal harmonies amid bell-tones and symphony, with Sangeeta offering up some philosophical spoken word towards the end.

Although mostly derived from the sweeter side of the sound palette, Ascension is an excellently produced and thoughtfully crafted album. Fans of uplifting inspirational music of the philosophically “new age” kind are especially encouraged to give it a listen! ~Candice Michelle

For more information please visit the artist's website. This album can also be purchased at Amazon and iTunes.

Album Review: The Lone Traveler by Joslin

Joslin Dsouza is an Oman-born musician-composer who currently resides in Dallas, Texas. Having first begun playing piano by ear at the age of four, he later enrolled in classical piano lessons, eventually studying under the academic curriculum of the Royal School of Music, London. Since moving to the United States, Joslin’s music has been featured on numerous television shows, commercials and documentaries. Released in 2006, his debut album, The Lone Traveler, was inspired by a story he learned in music class about the evolution of the modern guitar, specifically, the Arabic contributions to Spanish guitar music. Comprised of ten compositions spanning approximately fifty minutes, the album incorporates influences of world, techno, classical and contemporary instrumental styles of music, inviting the listener to embark on a spirit-soaring journey full of cultural richness and vivid colors painted throughout.

The title track, “The Lone Traveler”, opens the album with bold piano keystrokes that soon introduce a Gypsy-like melody accompanied by Radu Cernat playing violin. Immediately conveying a notion of watching a live grand stage performance unfold, an entourage of dancers seemingly enter the scene, as the piece further blossoms to life with an infectious dance rhythm. “Dance de Amour” follows next, an equally ebullient number with a romantic Mediterranean flair. Here, accordion takes the lead melody over an arrangement of strings, piano and percussion, as it seemingly paints a picture perhaps from the 1940’s, depicting a svelte couple dancing in the streets of Paris or Barcelona. Shifting gears a bit is the buoyantly energetic, “Celebrate Earth”, which aptly captures the atmosphere of a lively celebration. Notably infused with Eurodance elements, a simple piano melody that somewhat recalls Robert Miles’ mid-1990’s club hit “Children”, is similarly laid over a trance-techno rhythm accentuated by colorfully digitized effects. The next piece, “Moving Forward”, is one of my favorites on the album, likewise highlighting a dreamy piano melody that’s supported by pronounced bass and a dance-techno rhythm. An incredibly infectious tune with a soaring, convivial spirit, I could listen to it repeatedly, as I’m reminded of night life and driving through city streets. Equally compelling is “The Land of Innocence”, which aptly begins with the distant sounds of children playing amidst dreamy chords, before blossoming into a bouncy club/dance arrangement. Imbued with a fantasy-like quality evoking the innocence of youth, a whimsically whistling melody gives way to a sparking piano riff during the bridge of the piece. Taking things down a notch is the notably tenderer, “For All God’s Children”, initially beginning with gentle thunder and rainstorm, before introducing a classically contemporary instrumental arrangement that’s elegantly woven with orchestral textures. By contrast, “Underneath” is decisively sultry with its delectable Arabic and Indian musical flavors, which are further spiced-up by the exotically soaring vocals of Erin Munoz. Easily another favorite, the piece exhibits a world dance-rock flair, painting visually enthralling images of a thematic stage performance embellished with veiled dancers, flaming torchlights and temple décor. Closing out the album is the likewise fantastic, “Renegade”, which opens with the hauntingly beautiful sound of a duduk amidst a seemingly foreboding drone. Tribal drumming soon enters followed by stark instrumentation led by piano and strings, as the melody shifts back and forth from dark to light throughout until ultimately wrapping things up with a powerful, thunderous finale.

An amazing discovery from a master talent, The Lone Traveler makes for a mesmerizingly visual-audio experience, in which although the traveler may be lone, is certainly never alone. An artist whose work I find incredibly suited for live performance, Joslin is seemingly able to pull off the oft-difficult task of crafting strikingly bold and dramatic arrangements without ever becoming overly bombastic. A most highly impressive debut, The Lone Traveler will likely appeal, especially, to fans of Yanni, 2Cellos and David Arkenstone, as well as those with a penchant for Eurodance music! ~Candice Michelle

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

Review originally published on Journeyscapes Radio 04/04/17.