Label: Mandacaru Records
Source Link:.
Hiroko combines a unique blend of classical, jazz, Japanese Noh,
and Mongolian throat singing. I would call it classical world fusion.
“Wings of Celestial Maiden” starts things off and provides a
good example of that mix in one track. It is unlike anything I have ever heard.
I knew from this point it was going to be quite the journey.
“Sky Voice, Carried by the Wind” takes things in another
direction. Birds are tweeting, and a lovely piano softly entrances you as a
wordless background vocal is off in the distance. It ends with the sounds of a
didgeridoo.
“Silk Road Reverie,” you would expect something special due to
the title’s nature and meaning. Things begin with a mystical atmosphere, then,
in a few minutes, they take a turn into a more upbeat arpeggio, with the cello
adding its substantive resonance. A beautiful wordless vocal enters for another
layer of ambiance. Once again, the tempo shifts back to a slower, more dramatic
pace; the piano is deliberate in its tone, with the cello remaining an
essential accompaniment. All the color and moving moments you would expect
transpire in this symphonic masterpiece.
“Floating Temple” is a breathtaking piece, exuding an emotional
and melodic beauty. Hiroko’s wordless vocals add a sense of warmth and elegance
to the music, while the ambient layer and flowing piano notes create a sense of
floating. The song is a testament to the sheer beauty and purity of Hiroko
Mino’s music.
“Moonlit Oasis” is a showcase of elegance, with the piano and
flute engaging in a graceful dance from the start. The piano’s steps are
complemented by the flute’s resonant tones, creating a mesmerizing atmosphere.
The eloquence of the piano and the organic sounds of the flute lead the
listener on a picturesque journey, each instrument carrying its own unique
melody.
“Snow in the Desert” shifts into another frame of reference,
maintaining the consistency of that approach. The piano is moving along
quickly, but with the grace you have come to know thus far. The bass parts are
dramatic, accentuating the rapidity and emotiveness of the story here. This is
dark and beautiful all at the same time.
“Shangri-La” is the longest track at 7:17, so you would expect
many transitions within that time span. A lead in piano invites you in, and after
that intro, there is an immediate change in tempo as those fantastic wordless
vocals arrive, creating another layer of atmosphere that pulls you into this
musical, magical journey. As the track title would intimate, this is beauty and
color beyond your wildest dreams. The nirvana of this place is brought to life
through the piano and orchestrations. The melodicism is extraordinary, and the
orchestration is as poignant as it needs to be to deliver the scenery in your
mind’s eye.
“Nomad To Rome” is filled with the airy notes of the flute as
the piano brings its own soft touch. You can imagine an individual on a long
journey in search of something yet to be discovered. The hypnotic effect of the
flute produces the necessary atmosphere to imagine all this unfolding before
you, as the piano’s foundation is firm and continuous. The continuity is
masterful.
“The Path Beyond Infinity” takes you full circle to where this
music began, with Japanese Noh vocals and complex sounds, and ambient atmospheres
that enhance the emotion of the words that call out. The sounds are mystical,
with an echoing resonance that evokes the soundtrack to a movie with a
particularly intense scene. This track is entirely different from all previous
tracks, featuring operatic vocals and a background of music that appropriately
supports those vocalizations.
Hiroko Mino’s Beyond The Silk Road was one of the more interesting and beautiful recordings I have heard this year. The fact that it's undefinable at times is what engages a listener to put their ear to every sound as it all comes together, like an orchestral improvisation.
Keith
“MuzikMan” Hannaleck-NAMR Founder
September
24, 2025
Tracks:
1. Wings of Celestial Maiden 5:31
2. Sky Voice, Carried by the Wind 4:25
3. Silk Road Reverie 5:43
4. Floating Temple 3:19
5. Moonlit Oasis 5:40
6. Snow in the Desert 3:59
7. Shangri-La 7:17
8. Nomad To Rome 5:50
9. The Path Beyond Infinity 6:40
Part II: Interview
①
When did you first start playing the piano?
◆There was always a piano at home,
and by the time I was about one and a half, I was already messing around with
it like a toy. Before I knew it, I was picking out melody and harmony I heard
on TV and the radio.
②
What artists were some of your influences?
◆Radu Lupu, Ben E. King, and
Ennio Morricone.
③
How do you feel social media and streaming platforms have helped or hurt
recording artists?
◆They make it so much easier
for people everywhere to enjoy music, which is great. But at the same time, CD
sales keep dropping, and that’s the downside.
④
What are your plans for touring, and have you toured the US before?
◆Next year I’ll be performing
in New York with the legendary Ron Carter. I’ve also toured in Los Angeles,
Chicago, and Honolulu before.
⑤
This is your 15th recording. What makes it different than all the other
releases?
◆It was my very first time
releasing an album in the U.S., which was really exciting. Having Ron Carter
join was incredible, and I was also blown away by the level of skill from the
American engineers.
⑥ Do
you think it’s essential to bring your cultural heritage into your music each
time you record, or is there some inherent risk associated with that regarding
your listeners or potential new listeners?
◆This album was actually the
first time I brought in elements of my own culture. Usually, I don’t even think
about that—I tend to go for music with more of an international or exotic feel.
⑦
What is your recording process like? How long does it take, is everything done
in one studio or are parts added from artists from different countries?
◆This one took about two
months
because
of everyone’s schedules, and we ended up recording in six different places,
including Japan, New York, and Romania.
⑧
What are your plans for the future once the current release circulates? Do you
go right back into the studio?
◆I’ll be going back and forth
between the U.S. and Japan, and I’m also planning a European tour.
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