Nick Pike – Phraxia (Album Review)

In today’s review, we will scale back into the large and expansive world of classical music. In previous reviews, I am no stranger to waxing lyrical about the seemingly never-ending limits of the world of classical music. It is a form that is pure as it is complex, leaving ways for many types of interpretations, adding on to its beauty. Similarly, a particular review I did this on was ascribed to a talented and bewitching artist named Nick Pike. No surprise, of course, that he has returned to this platform to introduce his third studio album titled ‘Phraxia’. A neoclassical composer and an established pianist, this work follows from releases such as his more relaxed sleep piano album titled ‘Evergreen’, and the album ‘Norastoria’, which I previously covered.

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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