New Age Meditation Track Feature: Ilka DeGast - No Worries Song

Ilka DeGast continues to release tracks from an upcoming album designed for children who feel overwhelmed, anxious, or overstimulated. Using breathing techniques and a simple, somatic self-soothing tool, children are gently guided to notice their worries.

The “No Worries Song” opens with running water sounds to help listeners feel relaxed, floating downstream rather than upstream, fighting a strong current of worries and stress.

IIka’s beauty and command of her voice serve as an introduction, facilitating an immediate connection and focus. She then provides a guided meditation, with the acoustic guitar’s gentle picking serving as a guidepost alongside her voice and wordless vocals.

I understand this is intended for children; however, I could not help noticing that it was a positive experience for me and would certainly be for anyone who hears it.

The “No Worries Song” promises to uplift and reassure all who listen. Children, our most treasured hope for the future, deserve unwavering care and support. With this song, parents are offered a powerful tool—an invitation to nurture resilience, foster calm, and create a haven of encouragement for the children they cherish most.

Keith “MuzikMan” Hannaleck-New Age Music Reviews Founder

February 27, 2026

www.kidsmeditationsongs.com

https://globalsacredsounds.com/

Meet Ilka de Gast, PsyD.

Ilka de Gast, originally from the Netherlands but now residing in California, is a psychologist, Qigong and meditation instructor, sound healer, researcher, and recording artist. While Ilka has explored many meaningful career paths, her passion for the past 25 years has been to work with and teach sacred sound healing modalities worldwide, including the ancient art of overtone singing. Ilka’s meditation music is featured in Dr. Joe Dispenza’s advanced retreats in the US and internationally.

 

 

 

 

 

 

 

 

 

Contemporary Ambient Progressive Instrumental Review and Interview: Chris Russell-Lumen

Release Date: January 23, 2026

Label: Spotted Peccary

Website

Inspired by natural light and spiritual illumination, Chris Russell’s fourth proper release, Lumen, will engage listeners and offer an atmospheric, moving experience. This is a progressive ambient, contemporary instrumental blend that creates its own sound.

The tracks are full-bodied compositions with many elements that blend into moments of intensity, light, color, and vision, conveyed through keyboards, synths, and other synthesized sounds.

“Particles of Light” begins the recording with a lengthy stretch of ambient layers and colors. The first three minutes plus feature a heavier synth sound, then it transitions into a more spacey sequence, taking a softer turn, before building back up to the heavier sounds on top of that. The many transitions fill the space evenly, and the nearly eight and a half minutes have you in an anticipatory state, wondering what could come next. Many of the genre’s classic artists may come to mind for some listeners. I often reference Tangerine Dream when comparing these types of compositions.

“Autumn Skyline” takes a more mellow approach, painting a serene, colorful picture of the season. A whooshing air sound is heard along with a slow tempo on the keys, and you can imagine the leaves flying off the trees and whirling in the air as you gaze at the skies above. My immediate thought is of my favorite season in the Northeast, and what a relief from the heat that time of year brings, with crisp, cool air brushing against you. You appreciate the pause to reflect on the beauty of your vision.

“Candle Power” lights the way to the door to another dimension with a merging of several sounds and effects. Some of the sounds resonate and echo as the steady undercurrent flows like a river, carrying you downstream, following the light. The light casts no shadows; it’s a clear path set by the audio frequencies and the artist’s beautiful touch on the keys. This is a purposeful and contemplative piece. There is a short flourish of what sounds like vinyl record static towards the end, fading into the next track seamlessly.

”Vortexon” would be indicative of a more aggressive science fiction theme, and it does begin that way. As the synth layers enter the mix, it juxtaposes the higher-level sounds. It feels like a give-and-take process: valleys of lower frequencies rise to meet higher frequencies, then they all blend. I thought of ambient space music caught in a vortex, exploding like a supernova; then the process repeats.

“Luminescence” has you looking at the crack of light on the cover art. It looks like a fissure just beginning to break through; however, behind it is life, the flora and fauna are there, so do you go into that scenario or leave it with the light? The sounds gather momentum as you imagine the music as your invitation to jump in, letting it take the lead to get you to your destination. Once again, the higher tones are over the top of lower bass tones, and at times a piercing finite tone comes through, emphasizing the power and brightness of the light.

“Spectral Vision” is a logical extension of the previous tracks’ concept: from light to seeing it break through and move into another dimension or plane of existence.  Music carries the vision you are experiencing. The layering of the synths is like an orchestra of moving parts pushing the particles of light and molecules further to create another life force. What you see is yours alone. It feels like traveling through space and time, far removed from the physical planet we all know and move through every day. As the end approaches, the whooshing of air emerges as the piano replaces the whirling-dervish synths, leading into a mellow transition to yet another mood and atmosphere.

“Light Without Heat” is an interesting title. Just thinking about what that means, it gets those brainwaves working a bit more, in different ways than in the previous tracks. There can be light without heat, but it’s still light, not dark, so within that lies optimism and hope. As with many of these tracks, there are parts that can be meditative or relaxing, and others that are more reflective and thought-provoking because of the ever-changing textures and frequencies that synths and computer-generated sounds can create. There can be light without heat or heat without light, which are opposite forces in the spectrum sounds at the artist’s disposal.

“Whisper Moon” is the grand finale, clocking in at a vast 10:31. It is like the final flourish of sound and colors, giving you a sendoff. Spacey textures are layered and synced, and as you listen, you realize all the activity that is unfolding. Each part of the composition blooms with the moon’s light as it whispers in the night air, inviting you to join. The sounds soothe and call to you, inviting moments of solace and introspection as it changes in tempo and intensity.

With Lumen, Chris Russell has reemerged as a force in ambient instrumental music, crafting soundscapes that transcend mere listening to become transformative experiences. His compositions serve as gentle yet profound reminders that light persists even in our darkest moments, and that within the vast corridors of imagination lie infinite potentials, inviting us not simply to hear, but to journey, to expand, and to discover worlds waiting just beyond the threshold of sound.

Keith “MuzikMan” Hannaleck-New Age Music Reviews Founder

February 5, 2026

Tracks:

1. Particles of Light 8:29

2. Autumn Skyline 3:32

3. Candle Power 7:05

4. Vortexon 5:57

5. Luminescence 5:53

6. Spectral Vision 7:29

7. Light Without Heat 7:39

8. Whisper Moon 10:31

MARCH 2026 NEW AGE NOTES MAGAZINE FEATURING MARK AND THERESA BENTLEY – THE BENTLEY PROJECT

 

READ THE LATEST ISSUES 117 PAGES!

https://www.newagenotes.com/magazine/

Contemporary Ambient-Jazz-New Age Instrumental Review and Interview: NTHNL (Jacob Rudin)-What Kind of World Is This (COSMIS FLUTE MUSIC)

 Release Date: February 4, 2026

Label: Youngbloods

Website

NTHNL (Jacob Rudin) has created a fantastic musical omnibus of sound, color, and thoughts on What Kind of World Is This. He jumps around the musical map, covering new age, ambient, progressive, and jazz, among others. Get ready for a musical coloring book, and you hold the crayons; the artist provides the book.

“Awakenings pt 1” is an ambient piece running nearly five minutes, and it’s a beautiful way to start off this musical journey. Layers of synths and flourishes of gorgeous flute playing permeate the ambient atmospheres created.

“Awakenings pt 2” continues this spiritual awakening through sounds. The tempo is decidedly more upbeat, with percussion driving the synths as they flutter in rhythmic bursts. As the energy shifts, it brings light into your consciousness; however, this time it’s a bit over two minutes.

“Tiresias Rock” has a funky intro, then the flute comes in in a ’70s jazz style. Then a saxophone enters the mix, giving it a more defined jazz texture as the synth continues in the background, adding more essential elements. When the flute and sax meld, it gets even better, sounding like a cool modern-day jazz ensemble. This track is a full step ahead of the previous tracks. It reminded me of some of the great jazz fusion I discovered back in the ’80s.

“(re)possession” starts off spacey, gradually adding a beat and transitions, moving the sound toward a more fluid direction as the instrumentation builds. Behind an upfront beat and heavy synth, the flute is there, making its mark but subtly.

“Descent” sounds exactly as it should. Picture some sort of aircraft landing gradually on the surface of an unknown planet in an older sci-fi movie.

“Realization” sounds like a logical follow-up to the previous track, with its tempo and synth use. Now that you have landed, all the realizations have hit home.

“Hate Creator” has the most aggressive title so far, and you would expect the music to reflect that. It eventually gathers some momentum, sounding like a prog rocker with the heavy keyboards. The steady backbeat adds a sense of balance, but the point is made.

“Torture Temptation” is the magnum opus, clocking in at 6:36. The more aggressive concept flows with the implications of the title. There is a lot of time to work on transitions, and it works. The flute tempers the instrumentation and massages the tempos with mellow bursts of energy, while the keys add their ambiance, and the steady backbeat sounds almost tribal as the energy continually shifts. This is a very complex track with a lot going on simultaneously, but it works well.

“Coverting the infidels” is an interesting title. When I first looked at it, I thought it was “Converting,” an optical illusion, and if you are dyslexic, well, enough said. So, right off the bat, I have many thoughts. Then the music begins with an air of mystery, and as the composition builds, it sounds like a soundtrack to a Middle Eastern espionage movie. What a great song with some very cool atmospheres and effects. One of my favorites.

“Destruction of the institutes” makes me think this is turning into a dystopian novel. Or is the artist suggesting that this is what is currently going on? There is a logical progression of the track titles, and it’s coming together and starting to make sense, which happens further back in the tracks. The tempo picks up, with another great backbeat, as the synths, with their various sounds, emerge and propel the music like a musical train of thought.

“face up, twilight (feat Nakama)” brings things full circle back to the mellow, spiritual sounds of the flute, with jazz overtones floating through the air. Your senses are taking an immediate off-ramp to the tranquil place. And for the first time, you get vocals, and it’s a rap. This is a total paradigm shift in song structure with the addition of the lyrics, but the music holds true. Then, for yet another change, the vocals change in timbre to be less rap-like. Wow, what a masterful display of virtuosity.

“A Tyrant’s Mercy” features a narrative in which a futuristic deep-enhanced voice tells a person they have been cured of the demons that possessed them. Which you might think is the end of the story, but…

“Return to Earth” makes sense as you have the bowels of some hell and are sent on your way, cured of the demons, as you set foot back onto earth once again. The music has an upbeat, positive feeling with a very different sound. The flute is there; however, the rhythms are ever changing, and the cool breeze of that instrument adds a nice ambiance, as do the synths. A bluesy harmonica runs throughout, making this one of the most distinctive tracks yet, while the birds chirping at the end give a sense of balance and peace.

The title track, “What kind of world is this,” finishes out the novel set to music. The funky backbeat is the driving force as the flute, synths, and strings come together for a lovely ending. You feel relaxed and renewed now after taking one of the most diverse and interesting musical trips you have had in some time.

What Kind of World Is This gives many moments to pause and reflect on how to answer that question. This is a world created by music, and the track titles give you a good lead into what each may be about. Your job as the listener is to put it all together, like a puzzle. Like any music, you are the interpreter. What you hear and how it translates is your choice; however, I certainly can see a message in this music: an artist letting you know that he sees many things wrong in this world, and it gives a proper frame of reference as you move through the story.

NTHNL (Jacob Rudin) has crafted an audaciously eclectic, predominantly instrumental album that weaves together new age serenity, ambient atmospheres, jazz sophistication, and progressive complexity. This sonic tapestry captivates listeners from first note to last, inviting contemplation while refusing to settle into predictable patterns.

Keith “MuzikMan” Hannaleck-New Age Music Reviews Founder

February 2, 2026

Tracks:

01. Awakenings pt 1  4:46

02. Awakenings pt 2  2:22

03. Tiresias Rock 3:48

04. (re)possession 3:01

05. Descent 1:27

06. Realization 1:55

07. Hate Creator 3:20

08. Torture Temptation 6:36

09. Coverting the infidels 4:11

10. Destruction of the institutes 4:00

11. face up, twilight (feat Nakama)

12. A Tyrant's Mercy 2:11

13. Return to Earth 4:57

14. What kind of world is this 2:47

 

Dyan Garris Interview - The Final on Vinyl Podcast

Discover inspiration and insight in this captivating interview with Dyan Garris, a celebrated figure in the world of music.

Renowned in the new-age music community, Dyan Garris has enchanted audiences for decades through her 14 acclaimed albums, 6 insightful books, and a transformative chakra-balancing DVD. Beyond her creative works, she leads the influential New Age Notes radio program and magazine, and operates a respected music relicensing service.

Multi-Instrumentalist & Chapman Stick Maestro Tom Griesgraber To Release New Soundtrack Album The Split (Music From The Motion Picture Prairie Prophecy) March 6

Tom Griesgraber is releasing a new album called The Split. The album is currently available as CD and multi-format download on tomgriesgraber.com, with a wider release planned for March 6 including Bandcamp. The Split is Tom Griesgraber's soundtrack album from the feature length documentary film Prairie Prophecy. It includes all nineteen tracks from the film, along with two bonus tracks. The music features Tom Griesgraber on Chapman Stick, analog synths and samples. Tom's California Guitar Trio bandmate Bert Lams also makes a guest appearance on acoustic guitar.

Watch the trailer for The Split:
https://fb.watch/ETuAVHBc7O/
https://youtu.be/skNQfhEP0XQ

While Tom Griesgraber is primarily known in progressive rock circles, The Split leans more towards ambient music than much of his other work.

Says Tom, “I tried in writing it to have recurring themes for the subjects being discussed in the movie. The album tracks are in the same order they appear in the movie, with themes and motifs that develop as the album progresses.”

“I tried to also have something thematic with the instrumentation. Generally, when topics being discussed are more about the problems of industrialization the analog synths become more prominent, and when the discussion is more about natural things or the progress scientists are making, the Chapman Stick and orchestral strings are more prominent.”

The film Prairie Prophecy is an engaging exploration of natural systems agriculture and its potential to address some of today’s most urgent environmental challenges. Anchored in the work of The Land Institute, the film traces how perennial farming systems—modeled after native ecosystems—could help restore soil, conserve water, and build resilience in a changing climate. Both educational and hopeful, the program offers a forward-looking perspective on the future of food and land stewardship.

The movie is currently playing at screenings and festivals across the US and will be available to all Public Television stations starting in April 2026.

For more information about Prairie Prophecy: www.prairieprophecy.com

The Split Track list:
01 - At A Moment
02 - The Split
03 - Paradox
04 - Cassettes
05 - A Species Out Of Context
06 - Prairie Suite
07 - Planting Prairie
08 - A New Worldview
09 - I Just Wanted Kansas
10 - A Big Idea
11 - Land Institute
12 - Perennial Plants
13 - Junkyard
14 - Geologic Time
15 - Perennial Pantry
16 - Seeds
17 - Partners
18 - Love In Action
19 - The Tree Of Life
20 - Asked Of Us
21 - This Land

About Tom Griesgraber:
Tom Griesgraber picked up the Chapman Stick in 1997 after graduating Summa Cum Laude from Berklee College of Music as a guitarist in 1995. In late 1998 he began performing around San Diego County as a Stick player doing both solo shows and performances with his group Agent 22. In 2000, the group won a year-long local battle of the bands at the Belly Up Tavern, beating about 230 other groups. From there venues started having Tom or the group open for nationals. In 2001, he opened for the California Guitar Trio (CGT) at the Coach House in San Juan Capistrano. The next year Tom attended a Guitar Craft course taught by Robert Fripp with CGT members Bert Lams and Paul Richards assisting. Afterwards, CGT asked him to go on the road as their opener for about 100 shows over the next few years. Bert Lams from the group and Tom started doing duo tours as well and eventually two albums. In 2021, Bert and Paul Richards asked Tom to join CGT as a regular member.

To date, Tom Griesgraber has also released two other solo albums, one with CGT recorded while opening for King Crimson, two with Agent 22, and a duo album with drummer Jerry Marotta (Peter Gabriel) with whom he also toured internationally for several years. He has performed four times for Grammy events, toured as an opener for The Tony Levin Band, opened multiple times for Carl Palmer, Adrian Belew, Steve Morse and the Dixie Dregs, Al Dimeola and Stick Men and opened shows for Bill Bruford’s Earthworks, Andy Summers, Alan Holdsworth, Stanley Jordan, Steve Hackett, Larry Carlton, Steve Lukather, Paul Stanley, Paula Cole, Tuck and Patti, Asia and dozens of others. Tom has also performed on, produced and/or engineered dozens of albums for other artists including two with RyMo (of Slightly Stoopid), CGT, guitarist Peter Pupping and Dübh.

The Chapman Stick, Tom’s primary instrument is a combination of twelve guitar and bass strings, played in both hands with a technique closer to playing piano than guitar. Multiple outputs allow for simultaneous guitar, bass and keyboard-like sounds but with a unique timbre and unusual musical structures.

For more information:
https://tomgriesgraber.com/
https://www.facebook.com/TomGmusic/
https://www.youtube.com/user/thossounds
https://cgtrio.com/
https://tomgriesgraber.bandcamp.com/

Press inquiries: Keith James, Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

Soul Improvisations Track Feature: Creation

Soul Improvisations is the musical entity of Devorah. She has a story to tell in her music. After overcoming seemingly insurmountable roadblocks, she emerged as a gifted pianist with a beautiful message in the new-age contemporary instrumentals she records.

“Creation,” her latest track release, is another gift to humanity through the keys of the piano. The sounds are woven through a gorgeous tapestry of movement and tones emanating through her fingers.

The music is relaxing, meditative, and a picture of resonating spiritual beauty. The concept is the universe’s mystery and beauty as our planet spins on its axis. Although that spans a 24-hour period worldwide, the relevance of time and space fades in the music. It transforms into a space for you alone with the music.

In “Creation,” music becomes a vessel for solace and renewal—a catalyst for those seeking transformation. Soul Improvisations offers not merely a listening experience, but an invitation to unlock the door within.

Keith “MuzikMan” Hannaleck-New Age Music Reviews Founder

February 2, 2026

Because the music of Soul Improvisations stems from Devorah’s spontaneous “stream of consciousness approach” and is rooted in her soul, her compositions are quite varied. Listeners note that her music is New Age solo piano with a classical flair, with touches of other styles woven in.

Read More About Soul Improvisations here.