David Arkenstone Releases Surprise Single "The Houses of Healing"
Artist & composer David Arkenstone’s loyal Arkenfans were stunned by the announcement that he is releasing a 20th Anniversary follow up to the original Music Inspired by Middle Earth, released in 2002.
Below, we reveal the cover art for the first single, released today, featuring the legendary Faramir and Eowyn.
Read the full announcement by music blogger Robin James on Ello.
A CONCERT IN YOUR HOME: Enjoy Joan Sánchez & Iratxe Ibaibarriaga, from Barcelona to your Big Screen
Joan (aka Juan to fans in the U.K. and U.S.) Sánchez is a classically-trained musician who enjoys experimenting with emotive expression through ambient and electronic music, painting musical worlds of twilight and sweet melancholy, often precise, unforgettable and elegant. The music understands our personal concerns and helps to dissipate any tension, allowing a sense of comfort to surround and protect our spirit.
Sánchez gave a rare live concert on Friday, January 21, 2022 at 8 pm for a small live audience in the Rosazul Studio in Barcelona, Spain. The ticketed event was also live streamed worldwide thanks to a flawless two-camera production by ElSusurro.com, and runs just under 54 minutes in length. The contemplative nature of the music, the candlelit atmosphere, and lack of dialogue make it a likely favorite for casting to “the big screen” to set a romantic atmosphere at home.
We see the two musicians, Sánchez seated at a black piano with rows of small white candles, and cellist Iratxe Ibaibarriaga, elegantly dressed in black and seated throughout the performance. Ms. Ibaibarriaga plays on many of the selections, alternating with Juan playing solo piano. This review highlights just a few tracks from the concert set list of 11-songs, fan favorites chosen from across Sánchez’ three albums released in recent years.
The first selection, "Piga al Cel" (performed on Piano & Cello) is from the artist’s new album TOUCH & SOUND. The name of the song comes from a Catalan language expression that in English means “freckle in the sky.” Juan shares in an earlier interview, "This is how my sister as a child used to describe the moon, she said that the moon was a freckle in the sky. I always found this description of the moon so sweet and tender that I wanted to write a song about it."
"Very Young Old Man" (on Piano) from Sánchez’ second album NOW THE SILENCE pays tribute to the man who shaped Sánchez's view on the piano and music in general; piano teacher Enric Torra Pòrtulas. “I was 20 years old and he was 80 years old. I was amazed, as I'd never seen so much energy and enthusiasm in a person of his age. He loved teaching piano; anyone could see that immediately. He was a Very Young Old Man."
The word Ataraxia refers to the total absence of desires or fears, achieving mental peace and happiness by controlling positive and negative emotions, a state of mind that is characterized by tranquility and the total absence of desires or fears. The concept of ataraxia is to achieve mental peace and happiness impossible to alter by controlling positive and negative emotions, "Ataraxia" (on Piano & Cello) from the album TOUCH & SOUND.
The term "Paralian" comes from ancient Greek origins, meaning "one who lives by the sea.” "Paralian" (Piano & Cello) from the album TOUCH & SOUND, "There are a million and one things I take for granted in my life, and living within 10 minutes of the Mediterranean sea is definitely one of them. There’s nothing quite like being able to pop down to the beach in a heartbeat whenever you need it. Because of this, I think it’s one of the best places to go to feel closer to nature and connect with the planet, more so than anywhere else."
Listening to the music of Juan Sánchez is haunting and profound; sometimes the story is difficult, there is a beauty in the hesitant searching for words, and then cascading ideas tumble forth, a visitation from a blurred face, passions remembered and lost, the warm sunshine and awkward moments meeting new friends for the first time, and always, the quietude that endures. Sánchez’ cinematic songs inspire filmic moments in listeners’ minds.
Watching Sánchez perform these original pieces in concert reminds us that there is a person behind the magic moments he creates for us. Calm and confident, Sánchez plays effortlessly throughout the concert, eyes closed, head bowed as if in meditation, and then he is present again, transitioning smoothly between solo performances and duets with Ms. Ibaibarriaga. His earlier life experience as a performing musician is evident in his comfort at the piano, and in the generous interplay with his fellow performer on cello. The candlelight concert concludes with the title track from his debut album, “Rebirth.”
At the end of the livestream, as the performers stood for applause, Sánchez addressed his live audience in his native Catalan language, a charming reminder that we’ve enjoyed an intimate moment in this elusive artist’s life from across the world. Hopefully, such performances by Sánchez will be less rare as the world opens up again.
Beth Ann Hilton interviews composer Lisa Swerdlow on her new concerto, Coming to America, inspired by her Jewish grandparents immigration story. Enjoy this in-depth chat about creativity, inspiration and new music.
Visit Lisa's official website for more music: https://www.lisaswerdlow.com/
This is a great time for something brighter and lighter, something that brings some ease to the weary listener, who is seeking feelings of harmony and simple respite from our troubled world. The gifted composer, singer, and pianist Fiona Joy Hawkins has just the thing, a new album titled Moving Through Worlds. I hear an enchanting and amazing exploration of themes such as land, water, fire, climate change and the vanishing of souls into the wind. The 14 tracks feature mostly solo piano, some are duos with violin or cello, some have a more full range of accompanists. The sound has a way of traversing lots of moods, rich with dynamic energy. In places the sound is delicate and slow, in places the feelings build and gain velocity and then gently recede.
Fiona Joy Hawkins is a mainstream Composer/Pianist/Vocalist with an international following, whom she greets weekly with pandemic-inspired, live-streamed concerts from her rural home in NSW Australia. The event’s growing popularity may be attributable to a combination of her musical talent, a love for her fans, and her disarming Aussie humour. A prolific composer, she has always been interested in creating music that evokes images, emotions and tells stories.
“My wish is to open a few more hearts to the power of music. I believe music is a gift from another world, from ancestors of the past communicating to inspire and give us hope,” Hawkins said, reflecting on the world’s current challenges. “Music is a universal language that connects us without prejudice, it speaks to us all equally, yet is received with great variation. Now more than ever we need the connection to our past to find the pathway to our future.”
As per her usual style, Hawkins defies genre by bringing classical, contemporary piano, ethereal vocals, and lush new age instrumentals together to create a sound that is uniquely her own. This mix of solo and instrumental pieces reflects some of the worlds that she has moved through so elegantly while this powerful music gathered in her soul: granddaughter, nurse, wife, mother, daughter-in-law, friend, lover, painter, pianist, composer...cue the many lives of an artistic woman.
Jonathan Widran, in a review for JWVibe, wrote “While fusing the old and new on these tracks to help her come to terms with the past and “put her ghosts to bed,” Fiona places a dreamy, easy flowing coda on this era of her life with “All That is Left,” blending piano, violin and flugelhorn to create a final confrontation with these issues – and a sense of hope that she is on her way to healing.”
Fans watching her weekly Fiona Live Living Room Concerts often comment on her balletic piano performance style, which comes from a childhood spent learning classical piano, dance, and painting. In her music, one can hear the inspiration of Felix Mendelssohn and Frédéric Chopin, and yet her music is likened to modern composers such as Ludovico Einaudi, Michael Nyman, Liz Story, and George Winston. Hawkins regularly tours China and the USA, and is also a member of the award-winning contemporary instrumental group, FLOW (Fiona Joy, Lawrence Blatt, Jeff Oster, Will Ackerman).
Hawkins began recording and conceptualizing Moving Through Worlds three years ago, yet she describes it as an album over 44-years in the making. One of the classical-crossover pieces is “For the Roses” which a 12-year-old Hawkins wrote and performed for her Grandmother’s funeral. The song “Calling County Clare” reaches even further back to her family’s Irish roots, called forth with Irish whistle by Paul Jarman, Hawkins on piano/vocals, and Will Ackerman (guitar/hopi), Tom Eaton (accordion), Jeff Haynes (percussion) and Tony Levin (NS bass).
County Clare Ireland has a strong history of traditional music, with many seasonal music festivals. One of the legends for the origin of the county name Clare, sometimes also called the Banner County, comes from the settlement of Clare (now Clarecastle), whose name Clár, or plank bridge, is a place for crossing over the River Fergus. The first track on Moving Through Worlds, "Calling County Clare" (5:06) is a haunting bit of a quiet easy dance with piano, percussion, acoustic guitar, bass, Irish flute, and vocals floating ethereally. There is a new video that is based on this song:
She has been very busy recently giving interviews and generously sharing her time with us between tours and recording, here are three articles that have recently been published:
There's a new Contemporary Christian sound coming out of Narked Records, the label known for today's most exciting fusion music. Led by 55th GRAMMY(R) Nominee Arun Shenoy, whose love of blending genres drives the label, his current band -- Arun Shenoy and The Maverick Express -- has produced a gem of a song that will shine as we head into the holiday season. "Hallelujah (feat. Nicolas Laget)" is a heart-opening work of praise, exultation and bliss that clocks in at 7:04! It is part of a new EP, The Unplugged Songwriter Sessions, which serve as Shenoy's singer-songwriter debut, and what a debut it is! The shy artist's deeply-resonant voice and polished singing technique is a welcome surprise, and the EP, while not thematic like his former albums, serves its purpose to present a broad scope of his abilities. One can't help but sing along, and a lyric video of Hallelujah is available for the enjoyment of praise and worship music audiences worldwide. Music critic Jonathan Widran reviewed the album in The JW Vibe, calling it, "A delightful, organically rendered singer-songwriter album featuring the guitarist’s lushly melodic melodies, simple yet thoughtful lyrics and, as a wonderful surprise, surprisingly graceful vocals..." Industry reaction to "Hallelujah" has been so positive that Shenoy's management submitted it to the 61st GRAMMY(R) Awards for consideration in Contemporary Christian Music Performance/Song. Old friends and new join Shenoy for this project, which includes the introduction of THE MAVERICK EXPRESS, a musical group and rolling roster of musicians comprised largely of Shenoy’s long-term collaborators. Lonnie Park serves as co-lead vocalist on the music, backed up by the powerhouse groove section of Duke Purisima on Bass, and Jerry Chua behind the Drums. The band also features Vahagn Stepanyan on piano, Owen Gurry on the guitar and Nahuel Bronzini on string arrangements; Ian Cameron on Violin, Ravichandra Kulur on the flute and Matthieu Avanthey as the lyricist complete the lineup. Featured guests include Nicolas Laget on the saxophone, Jon Sterckx on percussion and Jody Ward on backing vocals.
Award-winning composer David Wahler has created a minimalist body of work imbued with peace and tranquility. Having been immersed in music since the age of seven years old, Wahler’s approach to his arrangements displays a true understanding of what music should be: something evocative. He removes all the frills that are displayed in a lot of modern music and simply presents his audience with solid melodies and serene nuances.
Composer David Wahler
Nearly a decade ago, David Wahler’s debut album, Antiquus, was released and met with critical acclaim. Now with his latest release of Mosaic, he tactfully melds the two worlds of piano melodies and electronic soundscapes into an album reminiscent of the 80s and 90s. The title track of the album showcases that ability perfectly well. What seems like a simple song is so much more when put under the microscope, with every little individual sound coming together as a collective to create something much greater and larger as a whole. Following, “Afterain” comes in with a far more laid-back and relaxing vibe. Birds sing and wind chimes tinker along with some gentle vocalization. This track is less of a song and more so of a mood. It isn’t until “A Promise to Keep” that Wahler comes in with his trademark piano melodies. They aren’t the most complex melodies but they definitely serve their purpose in setting a pleasant atmosphere. Hitting the midway point of the album, “August Cloud” explores more of the same territory utilizing simple piano melodies and subdued electronic nuances to create a sound that transports the listener out of their head and into a different world, high above the clouds.
In an unexpected twist, the track “Elysian Dawn” comes in strong with mesmerizing angelic operatic vocals layered on top of a pleasant harp melody. Gentle sounds of the outdoors help to evoke the sensation of being out in a lush garden on a sunny day. “Sakura” is laden with subtle Japanese influences that evoke the memories of a spring bloom. Similar in tone, “Lone Sky Night” and “Fou D’Amour” go heavy on the 80s-influenced synthesizer, giving off a more stylized vibe than some of the other pieces. Ending the album with a question, “Why?” is one of the simplest, most pensive of the tracks. After taking you on a mystical journey, Wahler leaves you pondering.
A true example of modern new age music, Mosaic does a great job at putting the listener at peace. It takes true skill to be able to evoke emotions using a minimalistic approach and David Wahler accomplishes just that. To read more about David, go to his website at www.davidwahler.com and make sure to purchase his latest album, Mosaic, available on most music sites; you'll also want to check out his innovative design-inspired SounDecor playlists on Spotify.
Producer-percussionist Byron Metcalf and singer-songwriter-author Jennifer Grais have managed to blend their two passions for music and shamanic healing into one hauntingly beautiful collaborative concept album. The artists' shamanic influences are quite apparent in the vibe of this latest work, They Were Here, exploring the plight of America’s wild horses. The energy of the music is both reverent and mournful as they explore the ongoing mistreatment and loss of these magnificent creatures, one of our most unique national treasures.
Jennifer Grais: singer-songwriter and author of "Christa's Luck."
This album is less song-oriented than others, rather, it functions more like one complete, flowing work of art. Native American influences run thick in the veins of They Were Here to create the perfect setting for such a tale. Metcalf provides the majority of the instrumentation including frame drums, rattles, udu, ceremonial drums and synthesizer.His characteristic style of tribal-trance drumming is the energy that fuels this piece, providing the driving force that echoes the sounds of horse hooves galloping with intense gusto. Ron Oates lends a helping hand on keyboard, synthesizers and orchestral arrangements as well. Jennifer Grais’ heart-wrenchingly beautiful vocals soar like an eagle to perfectly accompany the earthiness of the instrumentals.
The title track sets the mood for the album as it opens with the sounds of horses galloping as the earth stirs underneath their hooves. Slowly, the ambient music sets in like a looming mist that rises incrementally. The sound of Dashmesh Khalsa on didgeridoo wavers ominously in the background as Grais’ mournful vocalizations take the forefront. Henceforth, the songs get incrementally more intense as the story lingers on until reaching a crescendo in the fourteen-minute “Run.” Fiercely carried by driving beats and Grais’ intense, almost desperate chants, the track sets the scene of wild horses fleeing their native homes. Wrapping up the album, “Song for Solo” feels like an ending to a melancholic story, one that is very personal to Grais. It emanates a sense of mourning for what has been lost, yet incorporates sounds of nature, providing a reminder that life carries on ever still.
With They Were Here, Byron Metcalf manages to create a concept piece using ambient music. Utilizing his creative ways with music, he manages to create a soundscape that brings awareness to mother earth. This album is available on Amazon and iTunes. For more information, and to experience the music, visit www.byronmetcalf.com.
New York
City composer Peter Calandra takes us down a path of relaxation on his latest
release The Road Home. With years of
Broadway experience under his belt, this album showcases Peter for what he is,
a beautiful composer.
If you’re
looking for something upbeat, this might not be the album for you. Though if
you’re in the mood for something touching and ethereal, Calandra hits that nail
on the head. The Road Home plays out
like a journey of the mind’s inner monologue. Starting off with “A New Dawn,”the angelic vocals, performed by
renowned vocalist Joy Askew, beckon the listener to discover what is ahead. It
invites us to forget whatever troubles are currently weighing us down and to
start anew, conscious of the moment. Into “Mi Amore” we go, a song that
feels like a smooth drive down a sunny highway. Here, Calandra - a Yamaha-endorsed artist - playfully showcases
his skills as a pianist. In contrast to the gaiety of the preceding track,
“Morning Dove” is a bit more solemn, certainly moreso than the rest of the songs on the
album, yet sure to be a favorite among the laid-back piano crowd.
Once again,
“The Road Home” picks the mood back up in a joyous mix of piano and
synthesizer. Being its namesake, this track feels like the very core of the
album. Continuing to wind down the musical road, “Night Into Day” caps off a day’s journey
with an incredibly soothing melody that puts a mind at ease and celebrates the
passing of another beautiful day. Perhaps the most complexly layered of the
tracks, "The Cat’s Eye” plays around with European-inspired accordion and
harmonica sounds and incorporates the use of subtle chimes. Finally, “Points in
the Sky” slows the pace back down again, seemingly for the purpose of
encouraging a final sense of inner peace and reflection.
Calandra’s music evokes a plethora of human emotions and moods. He
aptly displays his understanding of composition by proving that emotive music
is not always about the complexity of a sound but more so about how to convey
an emotion by means of simplicity. In the case of The Road Home, less is more. The Pre-sale is now through 6/30; for sale via Amazon, iTunes and CD Baby on July 1st. - Samantha Garcia, BEING
