Phraxia blends impressive solo piano compositions with more texturally rich offerings, weaving elements of electronic music into such through the use of instruments such as the synthesiser. This also gives him more domain to artistically express himself, with the electronic aspect also highlighting his jazz-infused neoclassical style complimentarily, in a way you might not typically expect.

If you still need a bit more direction to gauge what this album might sound like, it’s definitely for those who like the relaxed, calming and musically interesting styles of Neoclassical composers such as Ludovico Einaudi, Max Richter, Yiruma, Alexis French, Ólafur Arnalds and Nils Frahms. Various single releases from this album have already proved itself popular on playlists championing relaxing, meditative sounds for sleeping, reading, focusing, writing as well as playlists that involve ambient and cinematic tracks.

The album is officially being released on all streaming platforms on July 11th, 2025. Sit back, unwind, and immerse yourself in a sound that will completely engage you.

The album starts off with the first single, titled ‘Whispertide’. It is a piano-led piece, featuring subtly swirling synth lines and shimmering piano sounds, attempting to create an otherworldly quality. Written as a musical journey mimicking the tides, ‘Whispertide’ evokes calm despite moments of intensity. I honestly think the track is extremely dynamic as it unfolds, with the timbre of the synthesizer definitely sticking out in contrast to the ‘shimmering’ sounds of the keys. It is immensely contemplative and existential to me, with a lot of composure and intensity hidden behind an apparent ambient front. The technological arc with the synths in the background come to an apex in the middle of the track, giving a very electrifying feel to this piece.

Similarly, the second track titled ‘Abaluna’ shares a similar quality in terms of creative execution. In comparison, it lacks the sudden nudge and spikes that the previous tracks have, but also present itself with a whirling, crispy electronic backing all while comprising of melody lines that go in circular waves. Moreover, it has more calmness in its phrasing and entire execution, being more consistently contemplative and relaxing throughout. It does have a spaced-out ambient quality, and I have to say, the chords used in this piece definitely elevate the Yiruma comparison. It has a very similar emotional tone to pieces composed by him. It also has a delicate beauty to it, intricate with its presence commanding force through direction and the ‘intersectional’ feel of all of the pieces converging at some point in the piece. This track was Pike’s third single from the album.

The third track, the title track of the album, comes in quite strong reminiscent of the slightly percussive nature of Benjamin Clementine’s piano work. It is a dynamic song, with the piano lines almost reminding me of the way M.C. Escher’s paintings go, just in a sonic format. I think it builds on the foundation set by the previous two songs, furthering the motif of whirling melodies with a serious emotional tone that essentially builds on itself, making a metaphorical ‘fort’ of ideation and instrumentation. It is very bold and captivating.

The sixth track, ‘Für Beethoven’ is the second single from the album and a half arrangement, half homage to the well-recognised piece by Beethoven, Für Elise. It draws heavily from the opening melodic elements from the original but reimagines it in a neoclassical style. This piece was originally written for some of Nick’s students to demonstrate how changing harmony underneath a melody can drastically change its feel. Original ideas and motifs are sprinkled around the composition, aiming to rope the listener in through the opening motif like a gambit and then be taken on a different musical journey. Like most people who have expanded their palette of classical music, it can be quite a bore to listen to this original, so this is a really interesting way of reinventing it. It has a completely different feel in my opinion, adding more emotional barriers and pillars sonically to the piece. There is certainly more dimension in every bar, with the intensity of what’s being played and even the spacing between the motifs. It definitely draws me in more than the original.

There are other stellar releases within this album, with songs such as ‘Aroha’. I’d describe the piece as more rustic, with a more intimate feel. It definitely strays towards more of an ambient presentation, with slight acoustic flairs to it. It reminds me of visualising the horizon of the night sky, in a poignant and personal manner. It also has an aspect of innocence to it, in the midst of its holistic soundscape. Another track that fits this niche is the track ‘Deepward Glow’, following a very similar concept and compositional aim.

To add on to the versatility pervasive within this album, certain tracks expand upon the electronic ‘drone’ apparent in previous tracks, accented with jazzy licks. An example of this would be the track ‘Vangise’, in which the electronic drone akin to the role of a tanpura lies in the midst of choppy, tinkly piano trills that almost remind me of the sound design done in Bjork’s ‘Vespertine’ album- toyish, but also definitely full of spark and significance. The emotional soundscape of these tracks are quite all-encompassing, but have the general format of ‘building upon a crux’ that i’ve noticed throughout the album. This would definitely enthrall individuals who like to have a sense of resolution within their listening experience.

The rest of the album provides you, the listener, with an extended exposition into some of these styles and techniques mentioned. I think they’re all extremely well-done, with enough musical variability to keep you hooked. No one piece truly sounds the same. There are a lot of technical details within the compositions as well as emotional cruxes and troughs that I think add a layer of multidimension to each of these tracks, leaving you with a different interpretation everytime you listen to it- just as you would after staring at a stunningly complex painting.

The repeated resemblance to visual art that I’ve made with Nick Pike’s work is no coincidence, as I think that is the hallmark of his beauty as a composer. Even within his previous release, I had commented that he made music akin to the art of storytelling. The gist of that spirit is still there, just in the form of a slightly different music style. I think it’s hard to truly find fault with this album.

Rating/Excellent – ‘Phraxia’ is a wonderful dive into the world of neoclassical music, this time through the lens of reimagination and slightly relaxed and calming motifs. It sways ambient at times, but maintains a delicate synergy between being peaceful and filled with emotional complexity at the same time. It is also quite significant in its use of cross-genre techniques and instrumentation.

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Patrick Dineen has had a rich and varied career to date, beginning with being the vocalist and songwriter for the band ‘Kan Kan’, known for their theatrical performances. He then went on to write scores for fringe theatre in London, which also led to him rising up the ranks and becoming Composer-in-Residence at The Liverpool Playhouse. With his expertise, his songs and scores led to him being invited to join Stephen Sondheim’s Master Class in Music-Theatre. 

This was then followed by a fruitful expansion, leading to opportunities culminating itself into writing scores for many theatre productions both in the UK and internationally as well as writing scores for TV and radio drama, contemporary dance and site-specific installations.

In other aspects, he also ran his own company touring original music-led productions, including adaptation of Dostoyevsky’s novella ‘The Double’ and original dark expressionist stories.

Dineen has also produced cabaret performance events in nightclubs, recorded several solo albums, with this release marking his latest, titled ‘We Never Close‘.

It bears his signature love of dark humour and telling stories through song, and also sophisticated arrangements. 

‘We Never Close’ is an album filled with extreme ingenuity and cabaret-show esque perspectives, with a delectable and exciting soundscape. It is very mysterious at times, but also expressive in a stylistic manner. At times it truly reminds me of film noir, and jazz associated with the 40s and the 60s, and in other instances it also goes into a slight mime tangent with a French accordion influence. It definitely combines some elements of productions like James Bond, ala ‘When A Double Agent Steals Your Heart’, to be specific, the Goldfinger soundtrack sung by Dame Shirley Bassey.

However, looking over the similarities and influences, Patrick Dineen’s vocal style and flair give these songs a different take on them, one almost reminiscent of David Bowie in his later years, with his vocal delivery in ‘Tis A Pity She Was A Whore’. The slight wispyness and particular diction he presents with each song give it a more earnest feel, compared to one that is ultra-dramatic and gut-wrenching. There’s a versatility in what it lacks for simple, easy-to-understand power, and that translates itself to the various amounts of sub-genres this album goes through.

One thing I do have to point out is also the similarities to certain classical compositions, with tracks like ‘She Ran To The Bank Of Geneva’– it gives off a waltzy feel, while employing certain atonal thrills. I would also put ‘The Wooden Drum’ in this category, with a delicate soundscape that is lush but also innocent and heartfelt, similar to some of Kate Bush’s works as well. His compositions are never truly boring, with lots of room for musical variability and multi-themed perceived sensations between each work.

Another thing that is pretty admirable about this album is the fairly great mastering for such a genre. A lot of acts within this genre tend to not pay attention to the specifics of mastering for a studio audience, and that is very understandable, given the intent and where their acts usually are performed at, but the instrumentation throughout this album stays pretty consistent even going through different styles and genres. I think that deserves a round of applause.

In terms of thematic flair, I have to say that Dineen is a very intriguing songwriter, with most of his lyrics definitely passing off as poetry. They rhyme with a large creative intent, in a very descriptive and intellectually poignant manner. This is surely a situation where someone is just as competent with arrangement, lyricism and vocals, all at the same time. This trait is genuinely quite rare to find on Music Review World, let alone the music scene in general. This aspect definitely puts this body of work in a special category.

Overall, if you’re into an alternate interpretation of music and into something with a more cinematic, Broadway-esque flair with dark cabaret and TCM-era frills mixed into it, this is definitely the album for you. It comes off as beyond a mere ‘album’, almost like a film-piece embedded into sonic hardware. Definitely a delight to listen to.

SCORE/ Excellent – ‘We Never Close’ is an extremely intriguing body of work that combines many subgenres and musical styles to present a cinematic, immersive retelling of various dark humour sequences as well as stylistic situations, all executed with a high propensity for detail and extremely well-done mastering.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Orr is a passionate classical hornist and folk vocal artist who uses the chosen medium of her classical horn and solo voice combined with the rich and soulful traditional melodies of her Appalachian heritage to create a poignant musical journey of the human spirit. Her style is unique in that it connects two very unlikely genres and instruments, as well as audiences. In reference, she states that so much of classical literature is inspired by, and derived from traditional folk melodies, leaving one to honor its connection as well as how it complements each other, contrary to common assumption. These styles both communicate and elevate the human spirit, and her hope is to connect with audiences from as many varied backgrounds as possible, and connect them to each other.

All of these aspects culminate in her newest release, titled ‘The Singing Horn’, a glorious and insightful album highlighting the further connection between the horn and the human voice. It was released last month on Navona and Big Round Records. It consists of a variety of influences, from the traditional ‘I’ll Fly Away’ to Mahler’s ‘Songs of the Wayfarer’. She weaves distant generations and cultures together in what is described as a ‘love letter to my life, and to yours’.

The album also bridges the divide between opposites- folk and classical, raw and refined, life and loss. The first five tracks of the album flow like a song cycle, interweaving folk and classical elements, culminating in the haunting beauty of ‘Oh Death’. In succession, you’ll hear ‘Good and True’, inspired by the birthing song of the Dagara Tribe as described by Sobonfu Somé. These works harness the synergy of horn and voice as vessels for storytelling, anchored by heartfelt reflections on motherhood, love, and grief. It is an artistic testament to the bittersweet complexity of human experience.

One of the words I have to use to describe the album is the word lush. It is very intrinsically glorious to hear the culmination of horn and voice, in interesting scales and melodies. The power of the instrument dominates each first half of the recordings within this work, with poignant undertones that simply keep you latched on in awe. When the tracks transition to Mary Beth Orr’s voice, it gives off a completely different flavour, adding depth and a delightful weariness, elevated by the wonderful mastering of her voice as well. There is a familiarity to the timbre of her voice as it guides you through the various stories she narrates, with an extremely proficient vocal tone and ability to glide through notes and emphasizing phrasing.

The otherwise Mahlerian segment of this album follows up with just as much engagement, creating a beautiful and full soundscape accented and complemented by both the horn and the piano. It is simply sublime and peaceful, before transitioning to a more dynamic and chromatic sequence. These are extremely proficient recordings of this piece, and I think it’s easy to appreciate them, even if you think you don’t have an ear for classical music.

It weaves through multiple musical movements and genres, and I truly enjoy that- it builds on to the high level of musical variability within the album. The traditional segments are eloquently executed with the power of Orr’s voice, it has to be said here that even though her accolades primarily represent her skill in horn, I think she is an amazing vocalist as well. There is a lot of emotion and adaptability within her vocals.

It is paramount that as you listen to this album, you should read the album page’s note section to entirely enhance this wonderful experience of an album here.

I think this is truly an album that exemplifies high art, with distinct, emotionally pure expressions of stories and traditions interwoven into a singular soundscape. It is jarring, outright magical and extremely engaging within many parts of the album, enough to tug onto anyone’s heartstrings. If beauty were an album, this might be the contender for its definition.

SCORE/Outstanding: The Singing Horn is a wonderfully unique and blissfully executed work of art that combines Orr’s proficient skills in both the horn and her vocals. It is incredibly multifaceted, with many highs and lows and diverse stories to keep you listening and hooked. Beyond the value of a release, it is almost like the soundtrack to the movie of life- a praise quite hard for most to garner.

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He was born in Manchester in 1956, and set his artistry in stone by being an eclectic composer drawing inspiration from a myriad of sources such as landscapes, nature, as well as historical events. His compositions span various styles and formats, creating distinct moods and atmospheres.

His repertoire also includes Concerti for Orchestra, Symphonies, chamber music, and vocal works. Notable works include the Double Concerto for Bass Tuba and Contrabass Tuba, the Bass Clarinet Concerto, Aubade Pastorale, and the Sanctus for female voices, strings, and piano.

In terms of recognition, he earned an award from the Paul Hamlyn Foundation in 2020 and was runner-up in the King Lear Arts Competition. He is currently working on this Third Symphony, which is dedicated to Sir James MacMillan, and future orchestral works. Naftel’s music has been praised and lauded for its eccentricity, individuality and distinctive voice in contemporary music.

The release this review will centre upon, ‘Orchestral, Chamber and Instrumental Works‘ marks as a showcase of his evidently eclectic compositional style. It houses 4 legacy recordings: Pascal’s Victim for Tuba Quartet, Song of Songs, Villancico for Guitar and Small Orchestra, and Aubade Pastorale for String Orchestra as well as 3 premiere recordings: Aphoristic Impressions, Naftel’s String Quartet No. 2, and The Folksong Suite for String Orchestra and Timpani, all of which will be expanded upon throughout the sequence of this review.

The music is accessible here for your listening comfort:

Pascal’s Victim for Tuba Quartet

It was composed for the North West-based Tubalaté, featuring three movements based on the Gregorian Chant Victamae Paschali. It starts off immensively pensive, before building up to a stable motif that’s marked with slight mystery and distrust. It is expectedly fragmented, but it also evokes the feel of a chaotic situation that envelopes you in- with slight chromatic notes sandwiched in it. The second movement reminds me of the midsection of the composition ‘Dance of the Knights’ by Prokofiev, with the slight mellowed-down motif apparent as opposed to the first one. It features gently shifting harmonies and peaks with a crescendo, before returning to its mellowness. The third motif amps up the motif of alertness, not straying from the compositional intent of paying homage to the chant. I think this movement itself is quite fascinating.

Aphoristic Impressions

It was composed in 2023 for the American pianist Haley Myles. It intends to capture the essence of various landscapes through five short piano pieces. These pieces intend to evoke images of the underwater church at Dunwich, Suffolk, the eruption of an Icelandic geyser, the indigenous wildlife of the Australian outback and Uluru/Ayers Rock, a peaceful night-time portrait of a Japanese garden, and Whirlpool Rapids Gorge on the Niagara River.

Approaching Bell: It gives off a very slight atonal feel, while still commanding presence with its compositional techniques. This segment is incredibly jarring, but also intensive and ‘pulls you in’, in a certain way, expecting more through the flow of motivic variation. It has a suspense-like filter to its approach, as the notes only get louder before going through a sequence of recurrent notes in various reiterations.

Mini Magma: Expanding upon the thematic feel of jarringness, matching the ferocity of eruption and magma, the notes of this piece hit you right at once going up in multiple transpositions. It is short, but it delivers its message and imagery effectively well.

Roo Awakening: This track, although in intent, is meant to mirror the indigenous wildlife of the Australian outback, reminds me of the superposition imminent within quantum mechanics. However, I see a similarity between the motor flexibilities of wildlife being expressed through sonic motifs and the fluidity of quantum mechanics- just as this track takes you through a journey of different melodic themes to what I interpret as the steadfastness and jumpiness of wildlife. It also reminds me of Stockhausen’s compositions.

Japanese Gardens: Immediately I can sense the scale it is played in- it is evidently Japanese and pentatonic, but bears compositional similarities to certain Indonesian and Ethiopian scales. It has a sense of serenity to it, but also a depth that is quite hard to translate into words- existential, almost, before it erupts into a wonderful flow of notes descending and ascending almost in a polyphonic fashion. I find this recording to be more complex than actually described.

Whirlpool Rapids: The initial dual-note motif helps to bring a sense of urgency to this track, with the occasional spars of notes to accent it in the beginning. It is intense, but also fluid, just like the gorge it intended to represent. It’s chromatic, but also stark in its delivery, and the juxtaposition makes it intensely delectable to listen to.

String Quartet No. 2

This piece was composed during the initial Coronavirus pandemic, reflecting the era’s tumultuous nature. It is a single movement but divided into 5 sections with an epilogue. From the first section itself, you can feel the inherent oscillation between tranquil static passages and furious, violent sections marked by intervals of a major 7th chord and a minor 2nd chord.

It starts off tranquil, almost, but goes choppy and intense with the drone of a string in the background, aiding the feel of anxiety and discomfort throughout the duration of the piece, reflecting the intersecting worlds of unsavoury emotion and bursts of solitudinal bliss in the midst of global consciousness ripping itself by its own shreds. The Allegro feroce is indeed, ferocious, but also overwhelming.

The Adagio Sostenuto that follows afterwards presents a solitary aftermath to the chaos of the previous movement, without sacrificing the underlying drone mechanism employed by the strings. It is a very airy composition that also makes you contemplate between each movement. It then transitions to the Prest Furioso, a return to the steadfast motif that characterises this piece. Each pizzicato helps to create an effect of pure shock and boldness, all while a series of cyclical notes color the timbre of the piece. The epilogue in return, closes out the track with a distinctly distant compositional feel with strings that feel airy and worn out, reflecting the state of society after having gone through such a terrible pandemic.

Song of Songs: Rhapsody for String Orchestra and Harp

This piece was intended to be an ethnic-flavoured rhapsody based on Hebraic chants and original material, featuring melodies like ‘Yigdal‘ and ‘Hatikvah‘. It begins with a very hijaz-esque melody through the strings, creating a source of mystery but also invitation as it goes on, with the harp sequence accenting its main melodic presence. The harp’s lone pieces give the track a feel of tangible sparkle, before going back to join the main stringed melody. This piece goes through a couple reiterations of the theme, almost like a delayed call-and-response, oscillating between motifs that are more surreptitious and serene. I have to say, there are a lot of similarities to my ear with the composition Valse Sentimentale by Tchaikovsky.

Aubade Pastorale for Strings

This piece is a short tone poem depicting a hazy day in the English countryside, using original themes inspired by the English Pastoral School, particularly Ralph Vaughan Williams. It is stated here, that ‘The association of music with landscape is essentially a Romantic phenomenon, a departure from the Classical conception of music as an abstract language concerned in a general way with the expression of feeling but with no particular relation to the external world.’ within the context of the music of English Pastoral. Likewise, I think this track thematical relates to the voices apparent within this movement- reflective, contemplative, impressive, all while transporting you into a world that is quite vivid and moving all at the same time.

This is all achieved by the wonderful segments of each stringed segment, some lending credence to the depth of the track while some sections play the motif of wonder and longingness- making you feel like you’re staring straight into the haze, eyeing your fate.

The Folksong Suite for String Orchestra and Timpani 

This piece draws on six English and Scottish folksongs, including John Peel, Early One Morning, Ca’
the Yowes, Loch Lomond, Dashing Away With The Smoothing Iron, and Lincolnshire Poacher. It is very vibrant, as with the tone and intent of most folksongs within that genre. It is separated into three movements, Rondo, Lament, and Country Dance.

Rondo: I find the structuring of this track quite unique, owing its dynamicism to the timpani section within the entire duration of the segment. It’s almost like a silent framework, giving it slight bass but also structuring each part with its intensity. The strings, once again, present a stellar soundscape.

Lament: This movement begins with a bit more seriousness than the other ones, making a scintillating piece out of the ups and downs that the notes go through within the sections of the strings. It has the most ‘unpredictability’ within all of the movements, changing its emotional tone pretty drastically throughout the track. It reaches a loud singularity at some point of the track, making sure to take you, as the listener, along on the emotional highs and lows of the track.

Country Dance: It finishes with a piece full of flair and velour, coming in strong with motifs that ooze pride as well as strong, deep-rooted culture. You don’t have to know much of the traditions of English and Scottish music to feel this particular song, it presents itself to you with so much gusto from the mixture of different types of modes of playing throughout the strings and the wonderful oversight of the timpani for structure and depth.

Villancico for Guitar and Small Orchestra 

This track aims to bridge the music of the Spanish Renaissance and Joaquin Rodrigo in a charming and lyrical Rondo form. It makes itself apparent within the first few notes of the Spanish guitar, and the oboe and the flute follow suit, expanding upon its motif. The flow of the track definitely follows suit with the rondo format, and I have to commend the attention to detail, especially with the snaps in the background. This track is quite beautiful if I must say so myself. It has a sentimental and romantic (not in terms of the musical movement) quality to it.

All in all, this album was a wonderful delight to listen to. It contained a large number of compositional influences and structural styles, leading credence to Frederick Paul Naftel’s repertoire for being an extremely eclectic and competent composer. Each track really played itself out as a wonderfully expressive attempt at trying to expand thematic motifs into full, engaging pieces and I think as a composer, he did it quite well. I also have to commend the great selection of people chosen to play these pieces as they truly helped to bring all of these compositions to life, being sensitive to every coda.

SCORE/Outstanding:  Orchestral, Chamber and Instrumental Works by Frederick Paul Naftel is a wonderfully engaging album that seeks to take the art of transforming an idea, scenery or motif into a full bodied piece of classical music very seriously. It oscillates between many different motifs, voicings and even scales to keep anyone seated and does not leave any space for inferiority. A work well done.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Roberto Mataluni, the artist in question, is an Italian pianist and arranger with a strong passion for composition. He was born in Naples and took up training at the “San Pietro a Majella” Conservatory of Naples. His musical training included the vast genres of pop, R&B, new age, and experimental music, as well as classical studies infused with aspects of modern music, electronic instruments, and virtual composition techniques. In terms of official releases, he has 6 music albums and 6 singles under his belt, some of which include ‘Atmospheres’: emotional pictures each with a different character, ‘Origins’: a concept album that traces the compositional process and inner growth of the composer, and ‘inSideB’: an experimental album with deep insertions of electronic music. He describes his techniques as maintaining his imprint while ranging between genres. In some instances, he prefers to be experimental, but in other instances, he sticks to the conventions of neo-classical music.

He has also expressed his art through various mediums, besides genres alone. He has also animated music videos for some pieces of his work, titled Night Waltz and Inside. Roberto furnishes these endeavours with a statement that affirms a belief in the need for art to express itself in various directions. Moreover, his status as an independent musician allows him the free reign to do whatever needs to be done to optimise his artistic vision- free from corporate limits.

I can truly relate to this artist. I too, often switch genres and blend a whole bunch of musical conventions with my compositions, and I too, like to make visual art to supplement my tunes. I think this is the best way to go about the field of music and art as a whole, as it is really there for us to push the boundaries of all that is possible. Perhaps, if we exhaust the means through which we express ourselves, we will finally come closer to understanding not only ourselves but also why we do what we do as artists and consumers of said art.

His newest release, an EP titled ‘The Story’, is an imaginary journey into a story, as if it were done through reading a book. The songs are in fact divided into chapters. The beauty of this release is the subjectivity involving the interpretation of the story and how that changes and adapts to the sounds vs your neurological interpretation of it while listening to the album. In fact, I shall expand upon this intent and share with you my interpretation of this EP. Perhaps, you can too.

The first chapter, The Story, opens itself up with the syncopation of the notes of the piano reminding me of the fast paced rush of running through pages of a book hastily. It is very percussive, reminiscent of Benjamin Clementine’s techniques with his piano playing. A delightful yet sorrowful string medley carefully enters the track, intentionally making sure that it doesn’t overpower the underlying piano. The run of the strings gets beautifully accented with some instances of pizzicato throughout the piece. Furnishing the overall soundscape is the addition of woodwinds besides strings, giving the song less of a primarily melancholic feel but a warm, quirky and sophisticated feel as well. (That is generally how my brain perceives certain woodwinds, if I had a colour to describe it, it would be warm peach.). Strings of notes float throughout the song with what I perceive to be a flute, before the track reaches a certain peak that coalesces various motifs of the composition itself to build upon itself almost like an auditory version of waves crashing in and building a large trough in a hydroelectric dam. This track is truly tantalizing and lives up to its title, as it is almost like a shortening of a story- especially with the structure of its composition. It takes you on a journey, through motifs of melancholy, determination, resolve as well as contemplation.

The second chapter, Two Worlds, has almost a call-and-response syncopation going on with the initial piano sequence. It is much more slowed down than the previous track, and remains a melody instead of venturing into percussive domain. The song acts as a tease, bringing in an initially mellow string sequence, before peaking into a rich and wonderfully full melange of strings accented with more woodwinds once again. This composition has a variety of feelings associated with its composition, it is almost so overwhelming it is quite hard for me to justify it with a simple description. It is boastful, it is tenacious, but pure and idealistic at its core.

The third chapter, Uphill Roads, metaphorically climbs upon you with the way the composition sits within the track. I think it definitely lives up to the name of the track being ‘uphill’, as the melodic sequence does sonically reflect that. However, I am faced with a slightly different interpretation. I do think it is uphill, but its almost as if the soundscape was littered with various vines and flowers that were laced with a nontraditional growth pattern. A lot of cyclic motifs oscillate throughout this track. Towards the middle of this track, the chords used by the piano as well as the string accompaniment not only set the tone of deep, heartfelt emotion but also fullness and richness. The orchestration is not empty, by any means, blasting you with as much potency as possible. It ends off with the cyclic motion of the piano in isolation, leaving in a mellowingly alarming note. I find that quite interesting.

The fourth chapter, Sudden Dawn, starts off with chords that evoke the feeling of resolution- a feeling that has not truly been expressed in this EP til now. It gives off a very distinct feeling. It builds anticipation, for sure, but I also feel a sense of comfort in these chords. The strings enter this track quite strongly, with the notes it chooses as well as how shrill it sounds. The accompanying strings after the first motive help to ground the shrillness of the initial strings, helping to balance out how striking it is- possibly even to take you back to the strange feeling of resolution that the initial chords struck. The woodwinds help to build more warmth to the track, as I constantly associate the tone of woodwinds with warmer tones, building an already sun-streaked music-to-visual soundscape. The track unfolds beautifully as it also builds itself up, a wonderful juxtaposition that already elevates the feeling of lushness. Personally, I think this is my favourite track in this EP thus far. There is something elegantly striking about this composition.

The fifth chapter, An Instant, switches things up by starting with the woodwinds first instead of the piano. This sets a neutral yet glum tone at the same time. As the track unfolds, the position of the melodies in the back reminds me a little bit of Marche Slav by Tchaikovsky. Perhaps the deep, ‘bass-esque’ sound furnished by more pizzicatos help to paint a similar feel to that composition. The piano sequence is choppy in delivery, adding an extra aesthetic quirk to this composition. As the piano continues with its melodic development, the airy flute gives the track a breathiness that would’ve otherwise been lost due to how potent the rest of the instruments in the track is. I absolutely love the arrangement of the strings in this particular track, with strong sustained notes. I wish that aspect of the composition was drawn out longer, as it was a treat to my brain.

The last chapter, The House of Notes, starts off with a blissful feel- a stark contrast to all of the other emotional motifs in this EP. It is imaginative, it is hopeful, it is inspirational all at once. The strings and the tenderness of the piano in this track makes it extremely graceful and soothing, but it is not all simply mellow- there is character and intensity to the way the track pans out. In a way, the title is quite apt for this track. It is a flurry of wonderful notes interacting with each other, but they are actually structured. Just like a ‘house’. I don’t know why, but the build-up of the strings in this particular track also tugs on my heartstrings. It is filled with so much depth and intensity.

All in all, this EP truly was a treat to listen to and each and every track, or chapter, was indeed filled with a sonic storybook filled with treasures and wonderful, interesting motifs for me to unpack. The compositional techniques within this EP is stellar, as so many different emotions get stacked into one full stack of work for the listener to delve within. It almost makes me wonder what these techniques would sound like perhaps in a different scale, as it genuinely is quite proficient. The body of work inspires me to improve my own craft. Not to mention, I also hope that Roberto animates some of the music videos for these tracks. It would simply be wonderful to see if his interpretation of his own artwork matches the imagery that he manages to evoke in others’ brains with his compositions. A delightful EP, to say the least.

SCORE/Outstanding – ‘The Story’ is an extremely inviting EP that mixes the traditionalism of classical music with innovative as well as dramatic and potent flairs to reveal an intricate emotional soundscape that lies hidden in the weaving of all of its tracks. It is delightful, poignant, and challenging all at once, and surely puts you on the journey through The Story.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The post Roberto Mataluni – The Story (EP Review) appeared first on Music Review World.

He is known for composing music that puts an emphasis on melodies, self-described as the concept of something ‘portable’ when it comes to music- a feeling that one can take away from a film, transporting the same exact emotions back to you in an auditory form. His aspiration with his art is described with the intent to touch and move people, the way that he has been moved by the music he loves. Similarly, you can truly feel this intent without even reading or referring to that description. He has a wonderful ability to finetune music to the point where you know your heartstrings are oscillating at the same frequency as a played orchestral string.

A Belgian-born composer based in London, Didier Recloux can trace his passion for music to his childhood. He was engulfed in music, coming from a musical family that introduced him to a wide range of music. A figure that he cites tantamount to the broadening of the horizons of his musical knowledge is his Polish grandmother. He then enrolled at a local music academy to study guitar, drums, piano, singing as well as composition at the age of six. He then went on to study counterpoint, music for film and television through Berklee, and gained an immense amount of knowledge about orchestration in New York through Steven Scott Smalley as well as knowledge about music production through IMW London.

It is also notably interesting that he started his musical endeavors playing in bands and songwriting in a pop/rock style. He is influenced by a multitude of genres: Prog rock, heavy metal, pop, electronic, classical music, film compositions as well as world music. In that sense, his expertise in music is pretty much tied to the vast expanse of his influences and his training: extensive, and comprehensive.

In today’s review, we will analyse his new single titled ‘Enotis (Wedding Song)’. Didier composed and orchestrated this track, and it was particularly written for a strings quintet. In this particular recording, Brookspeare Music plays the instruments. This track definitely has a tinge of sentimentalism in it, as it was composed for his wedding to his wonderful and talented wife Apostolia.

We at Music Review World got exclusive access to listen to Enotis and it will be available on the 9th of July 24 on Didier website

The song starts out tender and striking, the initial instrumentation consisting of a steady note before being auditorily wrapped with extra melodies and harmony. In very typical Recloux-style, the first melodic sequence serves as a recurring motif throughout the rest of the song, with more development for musical variability and compositional consistency. This song to me is like a wonderful flower with many layers, waiting to be unravelled as the flower opens to reveal its multi-layer of petals.

The song gives off the feel of melancholy and determination in the beginning, but it fades out into a sequence that oscillates- and what I gather from this, is a feeling of the triumphs and lows of a relationship. It doesn’t break, and it doesn’t fade, but these experiences coalesce to form a beautiful tapestry- just like the segments of this particular composition.

Didier is never afraid to make interesting choices with his arrangements, as the segment in 1:20 shows a different harmonic and melodic direction, but it still fits within the song.

I can’t lie, I was almost brought to tears throughout this song. Even though it is merely performed by a strings quintet, and there aren’t a complete variety of instruments, the various contrapuntal melodies add a distinct complexity that elevates the emotional capacity of the soundscape. Just as the concept of the ‘portable sound’, perhaps I am once again experiencing its magic.

The composition merges resolution, complexity, heartfeltness, authenticity as well as depth all in one.

From a technical perspective, the track is also extremely well-mastered. The timbre of the instruments can truly be felt in this recording, and none of the segments sound like they had not been given the time to shine.

As I predicted, this track did tug on my heartstrings… all while the strings continued to go on. Didier Recloux, once again, proves why he is extremely adept at his niche of composition. I highly recommend this recording. It has the capacity to transcend anyone’s genre-bias and preference, the emotions are as raw and universal as it can be. If a piece of music has you rave the way that I have, it certainly is competent.

Rating/Outstanding – ‘Enotis’ is a wonderful composition from Didier Recloux that has extreme sentimental value, and almost brought me to tears. He once again displays his expertise in his particular niche of composition when it comes to classical music. This recording is instrumentally simpler than his previous release, but still manages to shine in complexity- the mark of a true artist.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The post Didier Recloux – Enotis (Wedding Song) [Single Review] appeared first on Music Review World.

His most recent feature before the news of his new album, which appeared on Scientists & Engineers from Killer Mike’s album MICHAEL, going on later to win a Grammy for Best Rap Song, further fueled speculation that the world would receive an official solo rap album from the Atlanta artist himself. It wasn’t until NPR released their one-hour interview with André 3000 that the concept and premise of the album were revealed; not only is André 3000 not rapping on the album, it will be comprised of his performance on flutes such as contrabass, maya, and bamboo flutes along with other digital wind instruments.

Confusion, complaints, and negativity soon swept over the internet with many people wondering, “Why is he not dropping a rap album?!”. In an interview with GQ, he describes the difficulties at his age (48 years old) to find relevant lyricism about his life experiences as he stated that, despite public speculation, he isn’t sitting on unreleased music but actually, hasn’t had much inspiration to write. So then, why the flute? Stating in the GQ interview, André revealed that he has been playing the flute for over the past half-decade or so, using the flute as a pastime alternative to scrolling on his phone. It wasn’t until 2019 that André began being spotted in public spots such as Starbucks, open mic nights, and on street corners playing a double mayan flute for unprompted and unannounced appearances.

Stating in an interview with Rick Rubin on The Broken Record podcast also in 2019, André 3000 cited a loss of confidence and a newfound fear of his lyrics being overanalyzed online without inspiration to write new songs, explaining his absence from original content outside of features. It wasn’t until 2022 that it started to become more apparent of André’s focus on the flute as he recorded four tracks with his Mayan flute for the soundtrack of the A24 film Everything Everywhere All At Once, a movie met with massive success worldwide. While the trajectory of how André decided to make a flute-exclusive album is there, it still took fans of Outkast and André himself by surprise. Even with the recent announcement of André 3000’s first concert appearance in years slated for The Roots’ Picnic in 2024 with a clear disclaimer he will be playing the flute exclusively, fans were befuddled.

On November 17, 2023, over the course of 8 songs (1hr 27min) with the help of co-producer/co-writer Carlos Niño, André 3000 keeps his promise of a flute exclusive album, even including a disclaimer on the physical album covers of “Warning: no bars”. With song titles offering fun explanations for the inspirations of the tracks (i.e. I Swear, I Really Wanted To Make A “Rap” Album But This Is Literally The Way The Wind Blew Me This Time and That Night In Hawaii When I Turned Into A Panther And Started Making These Low Register Purring Tones That I Couldn’t Control… Sh¥t Was Wild) or just cryptic messages (i.e. Ninety Three ‘Til Infinity And Beyoncé and BuyPoloDisorder’s Daughter Wears a 3000® Button Down Embroidered), the titles are a fun expression of André’s thoughts, feelings, and personality for fans to analyze or take at surface level. With references to other iconic artists (i.e. Souls of Mischief’s 93 ‘Til Infinity and Beyoncé), historic leaders (Gandhi, Dalai Lama, Jesus Christ), and even serial killers (Ted Bundy, Jeffrey Dahmer, and John Wayne Gracy), André 3000 offers cryptic interpretations to the meaning, if any, behind each song title.

As for the tracks themselves, André 3000 gives most tracks sufficient time to seamlessly flow and set the scene with most songs having a runtime of over 10+ minutes. Impressively enough, André 3000 set a record for the track I Swear, I Really Wanted To Make A “Rap” Album But This Is Literally The Way The Wind Blew Me This Time charted at #90 on the Billboard Top 100, making it the longest song (12min) to chart on the list in its history. With songs as long as 17 minutes and as short as 4, André’s focus isn’t on accessibility but, instead, on the quality, flow, and intention of the track itself.

Tracks such as That Night In Hawaii When I Turned Into A Panther And Started Making These Low Register Purring Tones That I Couldn’t Control… Sh¥t Was Wild are furthered by André’s explanation on NPR of going to Hawaii, taking ayahuasca, and having a trip that convinced him he was a panther during the peak of his high. Anecdotes like this of the inspiration behind each track, offer a more insightful look into André’s mentality and purpose of the tracks; unfortunately, not every track has commentary as transparent as this.

Throughout the album, André offers a light and delicate touch to his instrumentation while simultaneously maintaining a unique sound to each track. Serene, tranquil, mellow yet full of personality, the lo-fi nature of the light instrumentation offers a deeply meditative tone throughout. With subtle versatility in each track with the instrumentation included, André does an excellent job of exploring a more natural sound in a track (i.e. BuyPoloDisorder’s Daughter Wears a 3000® Button Down Embroidered) just to explore a more electric, artsy, and perilous tone in the next track (i.e. Ghandi, Dalai Lama, Your Lord & Savior J.C. / Bundy, Jeffrey Dahmer, And John Wayne Gacy). With tracks that elicit an overall feeling (i.e. Natural, Spacey, Dark, Sinister, Animated, Wonky, Otherworldly) it becomes apparent of André’s intention of the album; to create a space for us to self-reflect, explore, and deepen our appreciation of life, nature, and our own spirit.

Overall, New Blue Sun is an extremely cohesive and flowing album that offers such a delicate and healing touch that one could be forgiven to believe it’s the soundtrack for a nature documentary at times. Despite its cohesive flow, this album is not accessible to the masses given the bold and experimental nature of the project, possibly alienating fans of André’s discography. Excelling as an album as a whole rather than individual songs, this meditative mental trip is a beautifully and carefully curated project whose symbolism and expression bring it to new heights. Open to interpretation about deeper meaning or simply something to take at the surface level, New Blue Sun is an ambiguous project that’s experience is purely subjective from person to person.

Rating/Excellent – Defying public expectation while being someone of André 3000’s caliber is extremely tricky; a shift of this change, especially for an active artist in the public eye since the early 90s, can always be potentially career-ending. André made an album for André and the stage of his life that he is in; concerned about public perception, sure, but still furthering his art despite his concerns in a way that feels authentic for him. Not concerned about commercial success, satisfying fans, or critical reception, New Blue Sun is a passion project that clearly means a lot to André 3000. Dedicated to creating quality content, André made an album that isn’t accessible to the masses at all, isn’t radio-friendly, nor is something that fits within his discography. Instead, it is endearing, mediative, healing, and symbolic of an artist’s freedom and authenticity that not only should be encouraged but celebrated, regardless of personal opinion.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

The post André 3000 – New Blue Sun (Album Review) appeared first on Music Review World.

Today’s piece of art revolves around someone who has taken the baton from the traditions I have mentioned, named Didier Recloux. Didier Recloux is a Belgian-born composer based in London, who comes from a line of music enthusiasts who fostered his passion for music when he was young. He then went on to enroll at his local music academy at the age of six to study music in a multifaceted fashion and went on to study counterpoint, music for audiovisual production at Berklee online, orchestration in New York with Steven Scott Smalley as well as production with IMW London. Even now, he doesn’t stop at the pursuit of learning, still studying with pianist, music teacher, and author Jonathan Walker.

He also started off his musical journey foraging into a multitude of various genres- pop, rock, heavy metal, prog rock, electronic as well as classical and film music. He notes Maurice Jarre and Ennio Morricone as his quintessential influences in shaping his musical sensibilities. Due to his upbringing in Belgium and the tapestry of communities that live there, he was also exposed to and influenced by foreign music as well. Didier Recloux, in his influences, story as well as repertoire, is surely non-conventional and brilliant.

Didier’s music emphasises melodies, which he describes as “portable”, that one can carry away from a film, bringing back the feelings experienced while watching the movie. He aspires to touch and move people, the way that he has been moved by the music he loves. 

Even in the realm of stories, it takes a certain type of person to choose a certain type of story. Most people stick with the cliched and played-out archetype of ideologies, manifestos, or whichever fits the likeness of such. Stories that evoke an interesting interplay between the arcane and the novel seem to always push through this notion. In this particular instance, today’s album review takes on the story of ‘Monsieur Linh and his Child’.

‘Monsieur Linh and his Child’ is a novel characterising the journey and fate of a man, named Monsieur Linh, and his child- no one truly knows who the child is, with it oscillating towards being his child, or his grandchild, throughout the tone of the story. The story is ineffable, and very surreptitious at times. Following the stylistic theme of the writer and the composer of this album, I will let the story envelop and give out clues as well as details about the context of the topic as the album progresses.

Stories rarely chime unless a gentle breeze pushes them to. Let me, in this context, be the gentle breeze.

Access to the album via this link https://didierrecloux.com/monsieur-linh-and-his-child

Leaving it all Behind/Mr. Linh/Sang Diû [Track 1]

The first part of the track starts off sombre, and intense, as well as deep. It then goes into a triumphant but melancholic tirade of horns, melodically supporting the track with all the initial emotional tone it requires. The supporting drums are heavy-hitting, and fit the undertones of intensity as well as sombreness, with the addition of a pellet-based xylophone giving the song the ‘question’ and dilemma of… Mr. Linh leaving his hometown behind. In the story, Mr. Linh is implied to be a Vietnamese man who has to flee his home country due to the catastrophe of war. He only clutches his suitcase, and his baby grand-daughter, described as lighter than the suitcase itself. The melodies in this song are grand, as well as contemplatively profound. They bear a lot of similarity to the triumphant yet sombre tone of many soundtracks supplementing Chinese period films and dramas, sonically transmitting the idea of “righteous warfare” (yibing 義兵).

The track then goes into a drawn-out, contemplative piano solo in the middle, with accented pentatonic flutes describing the ethnomusical tone of Mr Linh’s origin. Following the surreptitious theme of righteous warfare, the track almost goes back in a triumphant gaze towards the future, the new. In its forward-sounding trance, it sounds fascinatingly forward with solitude weaved into the soundscape due to the melange of strings. It is extremely emotionally intense.

The third part of the track, possibly a homage to Sang Diû, sounds extremely tender and innocent with the isolate plucking of strings in the beginning, with an aged quality to it given by the noise in the background. It has notes of a bell, usually attributed to youth, and what I presume to be either a clarinet or an oboe taking the main part of the melody. Since Sang Diû is implied to be Mr. Linh’s baby grand-daughter, or a child, infantile either way, the track presents an emotional landscape that is mixed with that of innocence but also respite and comfort in innocence- just as Mr. Linh’s relation is to this character. It twinkles, and tugs at your senses, following the same tone of the previous half of the track: solitude as well as possibility. The notes chosen towards the end mimic a sense of mystery, drawn out with the tone of the sea: where Mr. Linh sails, far away from his land.

A New Town [Track 2]

Mr. Linh arrives at a completely new, far-away land. The track starts off with sprinkles of a twinkled sound, supplemented by the graveness of the deep strings in the background. The main melody then takes over, with the use of a call-and-response between the flute, violin and airy choral vocals in the background. The melody itself oscillates between a longing and a sense of unfamiliarity. The oboe then interjects, extending the sense of unfamiliarity and disillusionment, with a very apt sprinkle of pentatonic notes in the middle, perhaps to represent Mr. Linh’s state of mind as he faces this new land, while still capturing the essence of his memory. It sounds very vulnerable, yet rich, just as his state of mind.

The Loss of a Family [Track 3]

In the story, it is stated that ‘all those who know his name are dead’. It is implied that his closest family members are all killed, in the ongoing war that ravaged his homeland and destroyed his village. The track deals with the sense of loss and devastation that this encompasses, for all that you cherish to simply perish. The track starts off almost in an ambient manner, with overtones that turn the sadness into an all-encompassing voyage of all stages of grief at once. The melody enters with definite pentatonic references, just as the rest of the tracks, with compositional choices that evoke the sense of despair. The deep guzheng-esque bass evokes the sense of grief that is distant, yet so close, with the light overtones of sound possibly depicting the innocence of the family that gets killed. The track then descends into a low piano tone, with notes of mental chaos and anguish, depicting deviance as well as terror. It poses much similarity to themed compositions of war documentaries due to the short bursts of strings, – which supplements the notion that his family perishes due to war. I absolutely love the emotional landscape and evolution of this track, as the cyclic strings get complemented with strong horns when the song reaches a crescendo and an apex. It then descends into a contemplative, yet mentally taxing note of the peak and trough of experiencing death itself, with the choral vocals and the oboe.

First Walk [Track 4]

In the next reiteration of the story, Mr. Linh embarks upon taking his first forage into the previously acknowledged ‘new land’ that he is thrust upon. Dark strings layered in an ambient fashion paint the tone of the piece as well as build a steadfast feel of sorrow that is hard to ignore. What then, seems to be a trumpet, plays a motif that evokes the feel of bravery encapsulated with a stride forward, as if it was the first step one can take. An auditory motif alluding to the significance of what it means to finally take charge. Strings emerge after this motif, building on the tone of ambience. Subversive notes emerge from the woodwinds afterwards, with the tone of a question or even a whimsical re-evulation of what one is doing. While this aspect of the song develops, an extra motif blossoms and shines, possibly alluding to the new possibilities that await as his first step emerges into steps, a first journey. The instrumentation with the flute afterwards is dynamic in its tone as well as what it conveys, a sort of melancholic poetry mixed with question. The drums hasten, creating a groove for the track, which is contrasted with the continuous crescendo of the bold and dramatic sounds in the background (possibly a more significant string component.) This use of juxtaposition is extremely innovative as it gives the song more depth and contemplation than it already does. It then reinvents itself as a track, with an earnest flute taking the lead- almost as if it were to honestly convey ups and downs while still being fairly immersive. It even adds aspects of free-form jazz to form a metaphorical crux. The song then descends into what I’d describe as ‘sombre acknowledgement’ of the action and what lies beyond. This composition is highly thought-provoking and utilises many aspects of various instrumentation to paint a picture.

Meeting Mr. Bark [Track 5]

Meeting Mr. Bark starts off with a highly imperative tone, softened with the instrumentation and the plucked strings in the background. It grabs you, with an extra tone of seriousness that is not necessarily displayed in the other tracks. This is the point at which presumably, Monsieur Linh meets Mr. Bark in the midst of his walk. The track portrays a sort of subversiveness as well as caution upon encroaching an entity that is new- yet contrasted with the desire to open up, as well as be fragile. The soft sprinkles in the sound create the feel of vulnerability while what I assume to be an alto saxophone takes up the main melodic part of the track. The tone of the alto saxophone sounds almost quirky in a way, while also portraying the sentiment of feelings oscillating up and down while the piano in staccato in the background gives off the feel of anticipation as well as anxiety, presumably as Monsieur Linh communicates with this entity and tells his story without a single word, leaving more for emotional interpretation just as the track implies. It then leads up to what sounds like a glorious fanfare, with more pentatonic elements and melancholy wrapped up in the concept of righteous warfare and the sentiment of ‘packing ones trauma’ with survivorhood being the crux, yet having survivor’s guilt. The choice of notes throughout the track gives off an uneasy yet directive feel, which is very apt for the concept itself.

Thinking of Home/Sang Diû Theme [Track 6]

This particular track transitions to a deeper ambience in its background tone. As the duration of the album proceeds and unravels, the missing puzzle pieces seem to take the listener through a travelling journey to unwrap what exactly is going on. The increasing depth of each track mirrors that exact intent.

A tender piano accompanied by a flute marks the melodic start of the track, which then gets passed on to another woodwind instrument- I assume it is closer to a clarinet but not exactly a saxophone. It comes out in a drawn-out ‘snake’-like fashion, with sparks of twinkling sounds as well as a timpani in crescendo, giving a dramatic introduction to the rest of the track.

In terms of melodic progression, this track amps up the pentatonic scale as well as reference to East Asian music- specifically, Chinese classical music. I have stated before, that the ethnocultural composition of Vietnam is primarily of Chinese descent, and that shows in their musical traditions as opposed to other Southeast Asian nations that have other scales, and ethnomusical traditions dominating their soundscape. As a result, this track definitely does reflect ‘Sang Diû‘ as a cultural totem, as well as a totem of his past, present as well as future- the entity speaks for itself, just as it has been represented through sound in this song.

As someone who extremely favours pentatonic music, the melodic progression of this song is extremely poignant. It develops itself with much glory, as well as fanfare. The intermittent notes of a chime give it more oomph and is definitely the song out of this album thus far that gives me goosebumps. It is triumphant and draws out very stylistically. The song then reverts to the same type of intentionally ‘uneasy’ and subversive tone that the previous track provides, with more of a weariness to it.

Flashback to Youth/Mr. Linh’s Wife [Track 7]

The next progression to this album starts off in a very inviting as well as dynamic tone, as it invites the listener to what is presumably Monsieur Linh’s reconstruction and memory of his life, going back to before the war occurred. It is very sparkly and the jazz-like tone of the syncopation of the cymbals gives this track a sort of feel that reminds me of ‘mind games’ itself. As if the recollection of his memories was his relief, but also a mental maze to go through- how does one look at the past with such clarity after blood has metaphorically stained it? The choice of notes throughout the initial sequence goes in a circular motion, as if it was intentionally done to evoke the feel of never-ending thoughts. The choice of instruments is also tantamount, as the tone of the xylophone (although it sounds more to a marimba) and the woodwind instrument gives it a juxtaposition between the innocence of youth as well as the toil of memories of the past. The use of violins as well draws upon the feel of toil even more, giving it a scope of sadness.

The composition then enters a minimalist sequence in which it retains the instruments that provide the melodic tone of sadness and toil, paired with a recurring drum kick in the background. The recurring kick gives it the feel of anxiety and a heart beat, as the sounds of innocence draw out. Very, very true to its title and description.

The Gift [Track 8]

In the midst of the mystery of Sang Diû itself, Mr. Bark, his newfound friend, gifts her a new dress to accompany Monsieur Linh on his walks. Even though it seems like a simple act, the story itself is poised with many different undertones, implications as well as interpretations- but Mr. Bark, in his act, shows his sympathy and understanding with this mere action.

The track starts off very tenderly, with a distinct string in the background almost giving it a sparkled ‘screech’ to the rest of the song. The harp in this provides the song contemplation, as well as the choice of notes of the piano. Once again, the woodwind instrument is the main star of the melody. The piano almost gives the song the feel of oscillating feelings through its constant peaks and troughs, as if the emotions could be transmitted without any extra effort.

The same tone of oscillating questions resonate throughout the rest of the track, with the strings giving the track more of an euphoric yet holistic feel. Listening to this track makes it feel like you are going through a field with many turns but no ends, but without any hostility. Just as Monsieur Linh goes through the journey of life with no real clear conscience, but Mr. Bark’s actions and intent in passing this gift provides a sort of relief- he has someone who understands, who cares about his state of mind and why Sang Diû is important to him. It definitely ends with a poignant note.

Mr. Bark Remembers [Track 9]

Sorrow and a different form of survivor’s guilt marks the start of this track. This time, the survivor is not the one affected by the circumstances, but instead, the creator of said circumstances. As the story unfolds, it is known that Mr. Bark was part of the efforts in Monsieur Linh’s circumstances. He somehow, had a hand in the war that ravaged Monsieur Linh’s village, being partly responsible for why he is in the state that he is in now. The track starts off with a melancholic sequence of strings, but it also sounds like an opener to the rest of the story. The piano and woodwind then paints the tone of regret, and then leads to a melodic sequence that sounds like glory in vain. It then switches up completely, to a much more grave and serious tone, illuminated by the switch in sequence through the strings and the horn section. It is very hard-hitting, possibly to illustrate Mr. Bark’s role in the war itself- the sound of the snare is very characteristic of military marching bands, and the style of cymbals chosen is also reminiscent of Chinese war music. The horns also give it an extra flair. The song then goes back to the same tone of the first segment, as if it was intentionally in A-B-A format, to represent the regret that haunts Mr. Bark: here he is, interacting with and seeing the result of his actions, and having to come to terms with it. He can appease the result of his actions as much as he wants, but the weight of his actions already wears him down.

A New Home [Track 10]

Monsieur Linh, in the story, eventually gets shuffled between various different forms of housing and entities to foster him somewhere, as an elderly refugee. However, since he is a refugee, he gets trapped within refugee centres, where he is mistreated. This then leads to an extremely unfavourable outcome, as it worsens the situation for Monsieur Linh mentally- he already has the scars and wounds from his past, and now he has to open new ones with maltreatment.

The song starts with the tone of confusion and contemplation from the harp, with the strings giving it a subversive emotionality and the rest of the instrumentation evoking a sort of innocence akin to helplessness, just as Monsieur Linh is while being shuffled through these institutions.

This track definitely has more of a ‘concert band’ feel to it compared to a baseline orchestral feel, with also a more whimsical approach akin to instrumental Disney compositions. It evokes the feel of a journey through the various string components, but one that definitely has not ended. It oscillates between peaks and lows of accomplishment as well as struggle, as Monsieur Linh has acquired a place to stay at, but his experiences are not what he expected.

The track then descends into a somewhat airy, and delectably spooky sequence that is primarily dictated with airy choral vocals. The way the tone of the track changes and transforms is pretty seamless and genius, displayed in all of the other compositions as well. The pseudo-otherworldiness of the flute is contrasted with the airy choral vocals, with conniving strings giving it more of the feel of regret and misfortune. The melodic component of misfortune is then stretched out with a woodwind instrument, with pizzicatos from the strings and spaced out notes from the piano then descending into a sequence reminiscent of ‘the unknown’.

A very, very stylistically dynamic track.

Escape/Finding Mr. Bark [Track 11]

After being confined to the refugee home, Monsieur Linh takes on a journey to abscond from the home and set out on a journey to find Mr. Bark, his secondary refuge in the midst of all of this chaos and somewhat of a lifeline.

The track begins with the feel of solitude and contemplative helplessness. The consistent motifs of sorrow and pentatonic music reignite in this track, but with a more striking approach. It is less ‘whole’, but in this minimalism, it gives the scenario more of a serious depth to it. It is also filled with audio motifs of the unknown, and mystery, sustained by the strings, woodwind and the dissipatory tone of the piano itself. The constant string in the background adds tension, as motivic variation develops in the rest of the track.

The flute wraps the track up as if it were a winding plant amid a forest. It supports the track in such a miniscule yet profound way. It is earnest, yet developing- just as the situation of the story at this point. The jazz-like groove of the cymbals, albeit subtle, also add a tone of suspense. The horns afterwards give the song a resolution that is like no other, consistent and very dominant.

I like the use of suspense and tension through the tempo changes and the use of the notes in the background, and the sequence of the horns mimic Monsieur Linh’s possible unwavering will and desire to locate Mr. Bark amid his escape. It then erupts into a melodic apex, which somehow feels like an accomplishment through the use of the horns.

In the finishing segment of this track, even though it is instrumentation, the dominant melodic notes done from the woodwind which I presume to be a saxophone at this point, almost sounds as if it is having a conversation- and the pianos evoke the feel of relief and familiarity…. and then, an abrupt hit occurs. The stylistic fashion of subito crescendo, it then changes the journey of the composition. It is the auditory version of a ‘halt’, apt for the next segment of this whole album.

This composition is extremely tender and takes you through the emotional apex of the story. It is very, very well done as it oscillates between the feelings and the emotional tension of the story.

Sang Diû/Reveal [Track 12]

This particular composition begins by wrapping you up in a solitary yet profound mix of low strings, distant woodwinds, and the use of slight noise. It takes you through the metaphorical waves, through the strings, and marks the emotional tone with the melody of the woodwind- it is sombre, it is gut-wrenching. It eats at you and takes you in the constant swim of emotion throughout the album.

Twinkling sounds oscillate within a soundscape of sorrow-filled violins, and the horns in the background give this song the triumphant reveal it requires.

At the end of the day, in subtle cues and context, it is then revealed that Sang Diû is not a human, it is not a child. It is a doll that Monsieur Linh had found next to his deceased kin, as the last artifact linked to their existence.

The track then develops itself in a very whimsical and dynamic manner, going through a ‘bouncy’ melodic sequence, taking you out of the extreme depth of sorrow in the first part of the track. Something as dark as the origin of Sang Diu, holds as much innocence as it does trauma.

It then erupts completely, with the realisation of what Sang Diû actually is, through the fanfare of horns and the timpani. It is regal, it is bold, and it is open in its expression. The similar pentatonic motif throughout the album returns, almost as if it were the last vestiges of the novelty of the story, and twinkles out. Hopes and dreams, once began, once shattered, once reignited, all over again.

This album in its entire conception was extremely poignant and interesting to begin with. I had not heard of the story before this album, but I am ardent in thinking that musical motifs are more effective than simply reading words. Logocentrism has its limits. Sound can be connected to many things- visualisation, and simply, communication. This album truly, and competently communicated the story to me. It was exactly as if somebody narrated the story to me, but without words. I could feel each scene and every subtle intent.

In terms of instrumentation, it is simply profound. The artist makes good use of most concepts of dynamics as well as instrumentation when it comes to classical composition to express the intent of the album in itself. The instruments match every emotional motif, it is very aptly mastered, it has plenty of musical variability with just enough reconstitution (certain reoccurring melodies) to ground the listener back to where the intent of the composition was, without being predictable. The artist surely has an eye or shall I say, ear, for thematic composition.

I truly felt like I learned a lot, and grew a lot while listening to this album. As I quote in my earlier paragraph,

‘Didier’s music emphasises melodies, which he describes as “portable”, that one can carry away from a film, bringing back the feelings experienced while watching the movie. His aspiration is to touch and move people, the way that he has been moved by the music he loves.’

and this is one of the most purest descriptions of Didier’s artistry. It is simply true. The concept of portable melodies in this entire album did touch and move me- dare I say, it evoked emotions and mechanisms more than that.

All in all, this was an extremely brilliant piece of art and I wish Didier all his best and to never stop his quest of continuous learning when it comes to music, as it reflects extremely well on the quality of work that he puts out and his understanding of music as a mechanism to transport ideas. Bravo.

Rating/Outstanding – ‘Monsieur Linh and His Child’ is one of the most profound pieces of work I have ever listened to, especially for pieces that are inspired by stories and other forms of art. It is an album that definitely effectively communicates every iota of the story, and the feeling to wonderfully crafted music. It is a thought-provoking and highly competent album.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Citations for this review:

https://muse.jhu.edu/article/747582

http://booksandbikes.co.uk/book-reviews/monsieur-linh-and-his-child-la-petite-fille-de-monsieur-linh-by-philippe-claudel/

https://medium.com/urmindace-stories/monsieur-linh-and-his-child-723fd6623d61

Philippe Claudel – La Petite Fille de Monsieur Linh

The post Didier Recloux – Monsieur Linh and His Child (Album Review) appeared first on Music Review World.

Born in Denmark and living in New York City, Karen has an interesting story, which reflects itself in her music’s mystique. Karen began her music career after a near-death experience that caused a head injury. After this incident, Karen found that she could miraculously play the piano despite never having played it previously.

This strange yet fascinating musical miracle can be seen in Karen’s central aesthetic of angelic serenity and divinity.

It feels wrong to call “Angel Pollination” an album, as it is more akin to a soundtrack or an experience. It’s music that isn’t meant to get people dancing and grooving; it’s music meant for ambience and sitting still too.

Songs like “Angel Jofiel”, Angel Sabrael” and “Angel Zadkiel”, have a Final Fantasy feel to them that transports you into your own fantasy world of your imagination.

Instead of each song having its own distinct sound, the album is structured to feel like one continuously changing song that progresses slowly throughout the duration of the album.

“Angel Melchizedek” is my favourite song on the album and has a soft and sombre tone to represent the sound of peace, which is what the angel represents.

The album closes with “Angel Raguel,” the angel of harmony and justice, which might be what the album represents: world harmony through music. The song feels like a cinematic closing and almost like a montage of every angel that is featured in the album’s tracklist.

If “Angel Calling” is the opening of the book into Karen’s intriguing, biblically driven world, then “Angel Raguel” feels like a solid last chapter with a subtle yet satisfying ending.

Score/Good: With this album, Karen showcases her careful soundscape crafting and her ability to make music that offers the listener a unique, profound experience rather than just a few more songs for their playlist.

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[We rank albums on a scale of Poor, Mediocre, Good, Excellent, Outstanding]

The post Karen Salicath Jamali – Angel Pollination (Album Review) appeared first on Music Review World.

Brôa, who was previously involved in various bands, scoring video adverts, short films and theatre productions, has proved that his talent in music composition knows no bounds, particularly when setting out to craft an absorbing listening experience for his audience.

The game ‘The Night is Grey’ follows a man and a lost young girl that must flee from a pack of wolves in the forest. Brôa’s score brilliantly underlays the challenges and puzzles players must face throughout the game, and lends ‘The Night is Grey’ a mysterious atmosphere that is suitably unsettling and curious.

The album’s 1st track, ‘A Forest of Disquiet’, perfectly illustrates the dark and tense environment players are introduced to in the game; the beginning eerily distant string intro crafting an intensity that sounds terrifying and somehow disorienting. A quiet piano melody lends a delicate edge to the gentle string background, which only further achieves drawing listeners into a world that seems far too still, as if something unidentifiable is lurking nearby. This is a fantastic introduction to the main threat of the game: the savage wolves. The somnulently steady tempo of the track also matches the game’s night setting and provides the listener/player with an ambience that charms with a mystic energy.

The following track, ‘Together We Wander’, seems to characterise the start of the game’s two protagonists’ tense journey to find the girl’s missing mother. Brôa’s diverse background as a multi-instrumentalist shines the more the players get into the soundtrack; the wide collection of instruments and arrangements adding further intrigue and depth to the narrative of the game. This 2nd track opens with an echoing percussive intro which melds seamlessly with the growing volume of the strings. Guest instrumentalist André Bispo on guitars and synths in both ‘Together We Wander’ and ‘A Forest of Disquiet’ allows the soundtrack to prey on the listeners’ lilting sense of loneliness and unease during the game.

‘Cave Dwellers’ vamps this hollow ambience up to the next level with its thunderous burst of low strings and vacant pattern of synths that layer together in a mesmerising fashion. A heavily reverbed guitar sings a sad and frankly spine-chilling lullaby over this, mapping out the characters’ dangerous and solitary journey in the dead of night. Similarly, the foreboding piano bass notes played in ‘Judge and Executioner’ demonstrate a very clear threat that dominates the players’ mind while carrying out tasks and missions in the game.

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The dreamy acoustic opening to ‘Blissfully Unaware’ is perhaps a slight shift in an atmosphere previously ruled by its thrills of tension and potential scares. While this track is lighter both in tone and delivery, there is still a faintly lingering feeling of unrest, which is suggested through the slight dissonance between a sweeping string background and the leisurely melody of an electric guitar.

The action element of the game is bolstered in ‘A Nice and Steady Heart’ by a marching drum beat, courtesy of guest musician Filipe Paradela, which is paired with a lively chorus of horns. Although, the 7th and 8th tracks ‘All is Fine By the Shoreline’ and ‘What the Shore Dragged In’, again switch up the tone of the soundtrack completely with the return of a gorgeous beachy guitar, Brôa manages to maintain the crucial element of thrill in ‘The Night is Grey’, while adding layer upon layer of complexity and depth into his soundtrack. This is both to reflect the changing thoughts and feelings of the characters during their mission, and also to reference the dark topics raised subliminally throughout gameplay, such as abuse, trauma and abandonment.

‘A Handful of Nothing’ is a harrowingly sobering piece; an emotionally performed string arrangement alongside Brôa’s recognisably mournful guitar dramatically leads listeners into the game’s finale, which reaches its climax in the final track ‘The Night is Grey’. A sombre piano leads the way for the album’s closing track, which is shrouded in a sombre mystery that no doubt frames the game’s shocking twist ending in an unforgettably haunting ambience.

Score/Excellent: The game ‘The Night is Grey’ is not just worth acclaim for its hand-drawn animations and engaging narrative, but also for Brôa’s eerily beautiful score. While never too much, the soundtrack achieves in contributing a mesmerising dramaticism to the game, which in turn emphasises the twists and turns of the narrative as well as the physical and mental peril the characters face. Players and listeners alike, once you have heard the soundtrack to ‘The Night is Grey’, you won’t be forgetting it in a hurry.

[We rank albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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