Album Review: Under A Second Moon By Holland Phillips

Under A Second Moon is the sixth album by multi-instrumentalist Holland Phillips and follow-up to his 2016 album, Circles of Eight. Comprised of eleven compositions spanning forty-six minutes, Holland’s latest album follows the new age / contemporary musical style of his previous releases, drawing heavily upon a distinguishable and well-worn 1980’s synthesized sound. In fact, notable comparisons could be drawn to some of the earliest works by both Yanni and David Arkenstone, as well as to a lesser degree that of Bill Douglas and Richard Souther. Throughout the album Holland plays piano, synthesizer and guitar while Paul Christensen lends saxophone to a couple of pieces. Additionally, subtle programmed beats underscore many of the arrangements.

The opening piece, “Out of the Frying Pan”, is enjoyably fey-like with its sampled wind instrument and metallic keyboard notes, as it moves at a rhythmic pace sans a definable drumbeat. Ostensibly retrospective in its essence, this piece along with others on the album seemingly convey a notion of viewing framed photos or snapshots of different scenes in time, as opposed to that of being present in the captured moments to experience them in real-time. One such example is the aptly named, “A Moment in Time”, a slightly jazz-infused number that perfectly illustrates the album’s cover painting of moonlight and landscape. Many of the compositions skew heavily sentimental, such as noted on the title piece, “Under a Second Moon”, an instrumental ballad that's accompanied by saxophone and a tender keyboard arrangement. Comparatively, I found myself most appreciating the more whimsical and fantasy-like moments on the album, such as that exemplified on “Long Way Home”, a dynamic electronic piece with a cinematic flair and easily my favorite of the lot. In my view, the 80’s-era musical influences works best on pieces such as this, with its retro guitar riffs and vintage drum programming that are further complimented by some Pat Metheny-esque vocal lines.

Rather than simply being modern music with a vintage edge, everything about these compositions – from the production, melodies, arrangements and sound quality– seemingly hails straight from the 1980’s, thereby recalling the reigning era of cassette tapes with some sense of nostalgia. An enjoyably positive listening experience overall, Under A Second Moon will likely most appeal to those who appreciate classic new age synthesizer music of the melodic and rhythmic variety! ~ Candice Michelle

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

Review originally posted on Journeyscapes Radio on 10/04/17

Spotlight: With Closed Eyes by Arash Behzadi

Arash Behzadi is a Iranian-Canadian pianist and composer currently based in Toronto. His many public performances include Panamania at Toronto’s Distillery District, along with having played at venues and festivals in Bali, Dubai and Geneva, New York. He presently experiments with combining live piano and yoga in unique settings that are conducive to a therapeutic environment. On this latest release, titled With Closed Eyes, Arash transitions away from the style of his more Persian folk music, injecting a more contemporary new age sound into the album’s twelve solo piano compositions.

Minor chord progressions lend an exotic mystique to the opening “Dilemma”, a strikingly elegant composition full of passion and poise. Continuing with “The Joy of Storm”, this aptly named piece soon unfolds into a boldly expressive, traveling melody that showcases intricate finger-work on the keys, while effectively conjuring images of a thunderstorm as it occurs from beginning to end. In perhaps a nod to the artist’s roots, the next piece, “Searching for Paradise”, seemingly evokes that of an ancient Persian landscape. Moving at a lovely waltzing pace, its melody is marked by boldly contrasting colors on the keys. My favorite piece on the album is perhaps “Liberation”, an elegantly robust composition with a free-spirited essence, which bursts with a dynamic energy and crystalline radiance like that of a river continuously flowing. The following piece, “Journey of Life”, aptly exudes a compelling and contemplative wonder, which effectively brings-to-mind that of a long journey on foot beneath a starry sky. The eight-minute closing title track, “With Closed Eyes”, opens delicately with a solemn tone, before proceeding along in a rather unpredictable course, much like life itself. An edited five-minute version of this song is also set to a lovely music video, in which the composer enters a cozy room decorated with temple-style reliefs as he sits at his piano to play. Throughout the video, Arash is accompanied in his sacred space by a woman wearing a black leotard performing Yoga poses.

Exquisite, expressive and beautifully bold, With Closed Eyes will surely appeal to many fans of both classical and contemporary solo piano music! ~Candice Michelle

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



This review was originally published on Journeyscapes Radio on 09/28/17.

Spotlight: All About Love by Ban Brothers

Ban Brothers are an Indian fusion musical duo consisting of real-life brothers Gautam Banerjee and Swagata “Ban” Banerjee. Recorded, mixed and engineered in various locations in India, their fourth album, titled All About Love, beautifully unfolds like a Bollywood movie soundtrack in which Eastern and Western, and retro and modern musical elements colorfully collide. Comprised of nine compositions spanning approximately forty-three minutes, the brothers are joined by an outstanding team of guest artists, including Vanil Veigas who lends keyboard programming to a couple of tracks and likewise provides additional arrangements alongside the notable Ricky Kej. Showcasing male and female vocals that alternately take the lead on each track, Hindi lyrics are delivered by guest singers Prajoth D’Sa, Supriya Joshi and Debasish Shome. Other musicians variably play instruments such as acoustic, bass and rhythmic guitar, bamboo flute, dholak, drums, keyboards, mandolin, percussion, saxophone, saz, table, violins and whistle.

“Bitee Huyee” is an excellent opening piece and likewise one of my favorites on the album, featuring the caressing vocals of Prajoth amongst a lively yet smooth arrangement of keyboards and percussion. Conveying an uplifting mood wrapped in a nocturnal mystique, one might possibly imagine having entered a majestic Indian palace filled with sweet aromas and sumptuous décor. The female vocals of Supriya take the lead on the next piece, “Panchhee Banke”, which effectively recalls an Indian music video depicting an entourage of women dancing in a scenic outdoor setting. In a somewhat unique twist, rhythmic guitar adds a slick western touch to the composition’s traditional blend of mandolin, bamboo flutes, tablas, drums and violins. One of the most intriguing pieces on the album is “Aaj Tum Mere”, which initially opens with birdsong followed by Prajoth once again on vocals. Characterized by a catchy Hindi-pop chorus accompanied by a saloon-style melody and rhythm, this cleverly assembled piece seemingly reminds me of an old Western movie that’s been reimagined in the East! Prajoth also sings “Dil Se Dil”, another nostalgic number that effectively transports the listener several decades back in time, as additional saxophone and acoustic guitar lightly season the composition with jazz and Mediterranean flavors. Wrapping up the album is the infectiously light-hearted, “Hum Se Zamaanaa”, once again showcasing Prajoth on vocals. Notably heavier on the electronic elements, the composition effectively conveys the notion of a Bollywood disco full of beaming techno lights.

Straight from the heart of India, All About Love perfectly illustrates authentic world fusion, seemingly bringing the essence of its homeland into the space of the listener. While perhaps not particularly distinguishable from most other Bollywood music I’ve heard, the compositions themselves are thoroughly enjoyable and always keep the listener moving. Likewise, I really appreciated the warmly innocent, unassuming and down-to-earth vibe of this album, and would especially recommend it to other Bollywood fans! ~Candice Michelle

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


This review was originally published on Journeyscapes Radio on 08/18/17.

Spotlight: One Drop Became An Ocean by Charles Denler

Charles Denler is a Colorado-based pianist and composer with numerous film and television scores and thousands of concert performances to his credit. The follow-up to his widely-acclaimed Moment of Dawn album, One Drop Became An Ocean is a sublimely elegant collection of fourteen compositions spanning thirty-six minutes, which were recorded with the City of Prague Philharmonic Orchestra. Described as “a water suite for piano and chamber orchestra”, the album was inspired by Denler having spent most of his life living near water, and effectively conveys the scenic beauty of rivers, springs, fountains, oceans and rain with a seemingly poetic tone.

Among many things that I immensely appreciate about this album, as with others that take its approach, is the accompaniment of live orchestration as opposed to the artist using synthesizers to mimic classical instruments. Alternately shifting from boldly cinematic and sweeping to minimal chamber passages throughout, Denler creates many aural contrasts, as he perfectly illustrates the water element in its full capacity ranging from dramatic power to the deepest of calm.

Some highlights include “Dreaming Oceans”, a piece that aptly illustrates a tranquil sea after dark, as it employs minimal nuances and plenty of breathing room between the echoing resonance of each piano note. Many of the album’s subtler pieces follow in this vein and are typically among my favorites. The title track, “One Drop Became An Ocean”, imparts a rolling undercurrent and drifty piano notes in tandem with softly swaying strings. “In the Shadow of Angels” ensues with minimal piano, brushes of chimes and a suspension of strings that eventually erupt into powerful orchestration and celestial choirs, as it seemingly illustrates that of an undersea kingdom teaming with life. I’m also particularly fond of “Whispering Sea”, a most haunting passage with a repeating piano motif throughout, which exudes an elemental sensuality veiled in an atmosphere of secrecy. Another favorite is “Ice Crystals”, a contemplative number which effectively reminds us that ice and snow are also water, as it seemingly paints a frozen landscape that’s beautifully expressed by crystalline piano textures. “The Seventh Wave” is a gloriously cinematic closer that effectively illustrates an oceanic expanse as viewed from above, with the sight of dolphins riding on waves amidst its great blue majesty.

A heartfelt ode to the aquatic realm, hearing this album often reminded me of being in a dome theatre and experiencing the adventure unfolding all around me. Likely to appeal to many fans of new age, neoclassical and film score music, One Drop Became An Ocean is simply a masterful work of prepossessing elegance! ~Candice Michelle

For more information please visit the artist's website. This album can also be purchased on Amazon, iTunes, CD Baby and Google Play.

This review was originally published on Journeyscapes Radio on 08/01/17.

Spotlight: Songs of Hope by David Wells

David Wells is a lifelong pianist and composer who has served as music director in various churches for over twenty-five years. Recorded on a seven-foot Yamaha Grand Piano, Songs of Hope is Wells’ debut album, featuring ten original solo piano compositions intended to lift the spirit and nurture the heart. Inspired early on by Windham Hill Records pianist George Winston, Wells’ own music is noticeably graced by Winston’s influence, as well as that of Jim Brickman, while likewise incorporating his personal jazz background into many of his arrangements.

“Selah” opens the album with a warmly flowing arrangement that smoothly rolls along like a scenic hillside in the sunshine. Producing a dimensionally radiant sound quality, it’s easy to envision the composer playing in a chapel as the music resonates throughout the hall. Three seasonal-themed pieces follow next, beginning with “Summer’s End”, a brightly optimistic number that mostly hovers in the higher registers. “Falling Leaves” slips into a more introspective mode, beginning softly at the top and trickling down into the mid-range with bolder exertion. My favorite composition on the album is “Winter’s Chill”, which particularly bears a resemblance to the mood and style of George Winston. Wells lends a steadily focused undercurrent with his left hand, as his right hand moves rapidly in a spinning motion, seemingly recalling that of watching someone hurrying down a winding staircase from above. I can only imagine what a treat it would be to witness this piece played live with its impressive display of intricate finger-work and evocative wintery atmosphere, which effectively conjures imagery of riding through a snowstorm. “Nocturne” is a notably intriguing composition full of expressive twists and turns. Despite its title, I’m more inclined to envision a sunny winter day while listening, especially amid the piece’s dynamically optimistic middle portion that’s decoratively bookended by a touching, heart-warming melody. “Traveling Light” effectively wraps up the album’s title and message with a tender yet spirited arrangement that imparts a sense of hope and optimism.

Soulfully elevating yet down-to-earth, the compositions on Songs of Hope generally remain in a happy place while simultaneously creating a space for inner reflection. Even amid the album’s more contemplative moments, Wells’ arrangements are inherently optimistic, open and personal, as well as immaculately arranged with an impeccable sound quality! ~Candice Michelle

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

This review was originally published on Journeyscapes Radio on 07/13/17.

Album Review: Stardust by Kerani

Kerani is a Belgian-born composer, keyboardist and producer who currently resides in The Netherlands. Inspired by the mysteries of the universe and wonders of our planet, her latest album, Stardust, transpires like a glorious symphonic journey of cosmic exploration. Comprised of ten compositions spanning sixty-five minutes, Stardust was recorded with a symphonic orchestra and mixed vocal ensemble, in addition to the amazing Kerani herself performing on both piano and a wide-range of synthesizers. Spanning the new age, neoclassical, contemporary instrumental and symphonic-electronic musical genres, Kerani’s style boasts strong parallels to that of the legendary Greek composer, Vangelis, of whom is one of her greatest musical influences.

“Stardust” opens the album with gossamer tones and melodically drifting piano followed by echoing drums emerging like a distant light approaching from a vast expanse. Gradually building into a cinematic arrangement of bells, horns and strings woven among synthesized layers, this imposing introduction effectively signals that of embarking on an epic cosmic journey. One of my favorite compositions on the album is “Rosetta”, which, in addition to being named after the satellite that took Philae (its lander module) to a comet, also shares its name with the title of Vangelis’ recent career-comeback album. The piece opens mysteriously with spacey, swirling textures that introduce more electronic elements along its path, revealing a majestically moving melody that conveys a soul-stirring wonder. Shooting star effects and celestial choral textures add extra layers of dimension that seemingly convey images of a satellite or spaceship traveling across the galaxy against a backdrop of stars. Another favorite is “Beyond”, a dreamily aerial piece that opens with an approaching drone. Slowly giving way to a gentle flute melody accompanied by sparkling timbres and angelic vocal tones, it glides softly along in a somewhat processional manner. “The Next Step” is a dynamically interactive composition named for astronaut Neil Armstrong’s famous words upon taking his first step on the moon. Led by a contemporary driving rhythm while incorporating electrifying rock elements, it seemingly alludes to a celebration of mankind’s spacefaring and technological accomplishments. “Gravity” is another highlight that conveys a somewhat ominous presence throughout. Beginning with stark, undulating percussion, the piece increasingly introduces choral layers and thundering drums as pristine synthesizers merge with lush orchestration. A beautifully majestic composition intended to convey the density and mass of celestial bodies, one can easily envision the gravitational pull and spinning orbits of planets. Concluding the album is “Stars (remix)”, a stellar composition of global celebration, led by Kerani’s fingers seemingly dancing across the keys to the backdrop of a lyrically hopeful and unifying chorus.

Transpiring like a fascinating space-adventure novel, Stardust draws many parallels to Kerani’s award-winning Arctic Sunrise album, although this latest installment in her impressive catalog is easily her most accomplished and luxuriously arranged. Cinematic, ethereal and regal, her music will appeal most particularly to fans of Vangelis (I recommend playing this album back-to-back with Vangelis’ Rosetta for an extended cosmic cinema!), as well as perhaps Constance Demby, Hans Zimmer and Yanni. I’m supremely grateful to see this gifted protégé follow in the footsteps of such a legend, and that in mastering this style of music herself, is helping to ensure its future place in our world! ~Candice Michelle

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

Album Review: Into the Mist by Fiona Joy

Fiona Joy is an award-winning, world-renowned pianist and composer from Australia who has additionally worked with other notable musicians. Among them includes Windham Hill Records founder, Will Ackerman, who produced several of her previous albums. Performed on an 1885 Steinway grand piano, her latest album Into the Mist was recorded and mixed in Direct Digital 256 (Quad DSD) in high resolution audio using the Extended Sound Environment (E.S.E.) proprietary. Comprised of ten elegantly prepossessing solo piano instrumentals that shift among phases of light and shadow, each composition is seemingly a dual expression of both human emotion and natural wonder.

“A Walk in the Park” introduces the album on a gently positive note, which seems to capture the song’s title both figuratively and literally. As with this piece and each one that follows, Fiona impressively demonstrates a keen ability for vividly illustrating the given names of her compositions with her piano-playing, simultaneously guiding the listener though a range of both inner emotions and outer landscapes. Following next is “Moon Over the Lotus Pond”, ebbing and flowing softly with carefully spaced pauses between each note, as the piece perfectly captures a nocturnal stillness and quietude. My favorite part of the album is the subsequent Opus trilogy that consists of three individual pieces, which although distinct from one another, all possess a billowing undercurrent like that of a winding river carving its way through a vast terrain. The first of these, “Opus: Into the Mist (Part 1)”, is both a somewhat darker and supremely beautiful piece that cascades abundantly up-and-down the keys with alternating accents on both lower and higher notes in the registers. Initially delicate and wistful-seeming, “Opus: Mist Rising (Part 2)” soon unfurls into an intently focused and penetrating number. Building gradually with a self-contained intensity like a stirring beneath the surface calm, Fiona’s intricate finger-work delivers boldly accented strokes against the edges of the composition’s interior. “Opus: Mist Before Dawn (Part 3)” effectively hints at an impending sunrise, while conveying a soothing sense of release along with the freedom of going with the flow. “Through Cloud” feels emotionally bittersweet; its mood seemingly paralleled by the image of gentle sunrays peering through a light rain shower. “Feeling Sunshine” exudes a golden warmth and air of carefreeness, flowing continuously from all sides like a fountain as the surrounding pool of water ripples on outwards. The slower-paced “Grey Sky Morning” ensues with a quieter mood of reflecting upon fond memories; its arrangement thinly spread-out among the registers with bolder emphases placed on the higher notes. “Galloping” is another favorite with a lovely companion music video. As with her song, “Invisible Train” (from her previous Signature-Solo album), in which Fiona effectively captured the forward motion of a train, she likewise accomplishes a similar effect here with the rhythmic mimicking of galloping horses. The minor-key “The Void” perfectly concludes the album with a sense of emotional intrigue, as if perhaps leaving one with a lingering impression of dreams, memories and secrets.

Easily Fiona Joy’s most accomplished album to date, Into the Mist is a stunning work of pristine elegance and sophisticated beauty expressed with sincerity and depth of the heart. While inherently of a romantic nature, these compositions effectively avoid any trappings of being overly sentimental, instead retaining a captivating essence of mystery throughout. Destined to become one of this year’s best solo instrumental recordings, Into the Mist is simply a must-have for those seeking piano music that’s both subtle and profound! ~Candice Michelle





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

This review was originally published on Journeyscapes Radio on 07/07/17.