New Age Instrumental Review: Margee Minier-Tubbs & Premik Russell Tubbs-In The Stillness Of The Stars

Release Date: June 24, 2026

A Transformative Musical Journey Toward Hope, Healing, and Light

Premik Russell Tubbs is a virtuoso master of all saxophones, flutes, lap steel guitar & EWI; Margee Minier-Tubbs performs spiritually infused spoken word poetry, vocals, Tibetan bowls, Koshi chimes...Premik's artistry appears on 300+ albums.

Margee is also a producer on the Grammy-nominated album Shayan, a prolific songwriter, a former translator at MIDEM in Cannes, France, and a multi-faceted fashion designer and artist.

In The Stillness Of The Stars, the duo’s combined multi-faceted talents, along with their talented contributors, are on seven tracks, with the prolific title track running at 18:39.

“11:11” begins the recording. Tinkling chime sounds begin, then several elements enter the mix almost immediately. Echoing flute sounds feather through the air as soft percussion provides a steady beat and undertone. The violin strings add their own essence and beauty. Charu Suri (see above the album Shayan) contributes her delicate, impactful touch on the piano for another layer. A lot is going on with this opening track, and they somehow bring it all together with a nice rhythm and flow. Toward the final transition, it morphs into a jazz new age fusion, with the saxophone leading the way—complex, beautiful, and a great start —as it ends with the repeating “Peace” chant.

“In The Stillness Of The Stars” would take up one side on a vinyl LP. After the initial offering, I expected more transitions and some complexity. It begins with a graceful entrance, with whooshing wave sounds as the instruments begin to come together (the ocean drum). A steady beat takes hold subtly as a lovely acoustic guitar comes in. The flute joins as another addition.

The saxophone adds another smooth jazz feel to the sound. A new-age jazz orchestra takes shape. Then it pulls back into spoken-word meditation, softer and more eloquent, accentuating the words with effortless beauty and meaning as you fall into a space of relaxation and meditation. At the same time, an uplifting cosmic message (or cosmic poetry, as they call it) embraces the soul. Then the vocals come in about halfway through, changing the composition entirely.

Now it’s as if you moved from one chapter to another in an ongoing musical book. The luminescence of an inner being is here for you to listen to, as the music guides each word as it takes on identity and delivers the message. This is absolute musical beauty, with angelic vocals. This takes the listener to another space in time. It all closes out with a dreamy sequence of merging instruments and ends just as it began.

“Ariitea (White Prince Coming Down From The Heavens)” opens with galloping horses, followed by acoustic guitar and violin with a distinct Celtic flavor. The piece then shifts to flute as the lead instrument, giving the flow an airy quality enhanced by wordless vocals. It changes again, returning to a Celtic, Middle Ages-style dance. The track title and instrumentation paint a vivid picture, creating a backdrop that lets you envision the scene unfolding in your mind’s eye. As it changes again to a rocking, low-end acoustic guitar and flute, I immediately thought of Jethro Tull; then it morphs into a dance of the gypsies. So many changes and influences coming together, wonderful! It ends as it began with the horse galloping by.

“Lumière (Prayer To Archangel Mikaël)” begins in French spoken word. A keyboard creates a steady floating effect in the background as the rest of the instrumentation takes its place. The soprano saxophone arrives with elegance and rhythmic sensibility. Soft percussion keeps time as the acoustic guitar strings take flight. The sax and guitar are poignant here. Brief words are spoken as the percussion tempo builds to a crescendo, then fades out gradually.

“TaraShanti (Love's Eternal Angel)” brings back the whooshing air sounds as a guided meditation takes place. It is a poem of positive spiritual invocation. Then the music tempo starts to change as the wind chimes tinkle for that magical effect. The flute returns as a guiding light on the spiritual path, while the percussive elements, with their earthy, resonant tones, become mesmerizing. The rhythmic wordless vocals are quite beautiful and melt right into the music. The positive affirmations are the light and love interlaced into the sounds.

“Star Of Shayan” has a lovely doorway, with the flute and piano keys forming a perfect partnership before the percussive elements join for more rhythm and a solid foundation. Here, jazz fusion and new age intermingle to create beauty and lightness, like a quiet storm that quickly engages your consciousness. This reminded me of early jazz albums I enjoyed by Flora Purim and her husband Airto Moreira. In the end, those gorgeous chimes always sound like an inviting entry to walk into, and you never want to leave.

As “In The Silence Of The Night” starts, it sounds like a 70s jazz-fusion amalgam, then it quickly shifts to what you have enjoyed before, with the flute and gentle percussive elements providing a calming effect. It carries a fine rhythmic sensitivity while allowing listeners to reflect and reenergize their mind, body, and spirit. This is what the entire recording is about, so it is the best way to end your listening. As it reaches near the end, a lovely rolling keyboard sounds like a magic carpet ride to another dimension. It ends with the clear sound of the focusing bell used for meditation.

In The Stillness Of The Stars stands as both a musical triumph and a balm for the spirit. In a world often overshadowed by negativity and uncertainty, this album offers listeners a transformative journey toward light, renewal, and hope. It invites us to pause, reflect, and heal—reminding us that music can be both sanctuary and inspiration, guiding us to brighter horizons.

Keith “MuzikMan” Hannaleck- NAMR Founder

September 3, 2026

Credits:           

Margee Minier-Tubbs, Composer, Lyricist, Vocalist, Percussion

Premik Russell Tubbs, Flutes, EWI, Soprano Saxophone, Keyboards

Zach Brock, Violin

Stéphane Wrembel, Guitar

Swaminathan Selvaganesh, Kanjira

Anita Lerche, Vocals

Charu Suri, Piano

Patrick Carmichael, Percussion

Steven Finkelstein, Ocean Drum (Tara Shanti)

Instrumental Acoustic New Age (Guitar) Review and Interview: James Filkins-Dog Eared Days

Release Date: September 5, 2026

A Richly Layered Journey Through Fingerstyle Guitar and Fine Acoustic Instrumentation

Dog Eared Days is the new album from fingerstyle acoustic guitarist and composer James Filkins. The all-instrumental album also features violin, cello, viola, fretless bass, whistles, accordion, flute, harp, and percussion.  This is his 5th release.

When you look at the cover art, it reminds you of a bright fall day on the lake with man’s best friend. That is a great way to start listening.

With a new-age concept and acoustic elements, this album gives flashes of brilliance on the six-string while creating softer, mellow tones for the listener. Occasionally, if you listen closely, you will also hear elements of blues or jazz mixed in.

“A Place in the Sun” begins with crisp, clean, bright picking from Filkins’ guitar. The title of the track delivers a message to the listener clearly-your time in light is right here in the music; listen. The guitar tones and colors resonate exquisitely throughout, with several movements and transitions all layered for a complete sound.

“Gratitude” starts with a simple tempo picking style as the other rhythm parts start to weave into the mix. This is simpler than the opening track but very soothing, and the six-string shines.

“House Cleaning” takes on a different flavor; after just hearing a guitar solo, a cello and violin are added for more shading within the composition. The track title can mean a literal domestic chore, or it can apply to an individual's need to take stock of life and get rid of what's in the way to move forward. The atmosphere has a darker edge, so I read it as a more serious message. While the guitar notes held an entirely different tone, it still sparked emotions through the music.

“Cat Head Bay” picks up the pace, with the rhythmic guitar and whistle giving it an airier feel. This felt more like a nice walk on a sunny day than the previous track, which felt more inward and reflective. The accordion added another element, giving it a little more spice and flavor.

“Gravity & Inertia” brings things back down to earth with echoing tones and interesting finger work on the acoustic guitar. They keep the eclectic approach and continuity of change intact; the sounds are very engaging. As you move through each track, you recognize just how gifted a player Filkins is.

“Dog Eared Days” features the extraordinary bass playing of Michael Manring. This was a great choice, especially as the title track. His bass has a very distinctive sound. It is the second longest track at 4:02, but just right. As the guitar moves through its transitions, the bass is the perfect partner, laying down a path to the top of the musical mountain. Beautiful.

“Rose & Hummingbird” takes you on a nice nature walk, with the flute’s beauty weaving its patchwork quilt of sounds as the acoustic guitars flow and rhythmic picking takes you one step further into the journey. What I have enjoyed most so far is how Filkins' fingerstyle sounds like more than one person playing.

“Purpose” is a meaningful word. It’s a mover, something with energy. The guitar would need to reflect that flow of thought, and it does so quite nicely. There are moments when you pause to hear how one tempo overlaps the other. Crisp note fluctuations and the underlying bass tone for support complete it. Just guitar, and it's all covered.

“Leelanau Lullaby” has a sound you'd expect when you add strings to the guitar's transitory nature so prevalent in each composition. A lot is going on here for a lullaby, and musically speaking, it ends up being one of the most colorful and lovely tracks.

“Joie De Vivre” is a French phrase often used in English to express a cheerful enjoyment of life, an exultation of spirit, and general happiness. The lighthearted guitar says it all, with the strings echoing that sentiment perfectly. The energy level and tempo are medium, and the guitar playing, as it has been consistently, is poignant and measured, delivering the intended message. 

“Witch Hazel” carries a flowing rhythm, with the picking as the bass strings hum below the sharper notes. Kind of a smooth jazz feel on this one, very nice.

“Arboreal Glen” closes out with emphasis coming in at 4:10. The whistle takes its place as a main instrument, following the picking and strumming of the acoustic guitar. Its significance cannot be overstated here, as it adds a layer that helps tell the story. With its nature theme and distinct new-age vibe, this music is enjoyable to listen to and take in, or it can support a more relaxed, meditative state you are seeking. Either way, the recording shows the guitar's flexibility in the capable hands of an artist like James Filkins.

Dog Eared Days elevates James Filkins' acoustic guitar artistry to new heights, offering a dynamic and engaging listening experience for both musicians and fans. Each track reveals a fresh facet of the instrument's expressive range, making the album a rewarding journey from start to finish.

MUSICIANS:

James Filkins-Guitar All Tracks

Stephen Wake – Lead Guitar(1)

Katie Larson –Cello (3,9)

Sav Madigan – Violin (3,9)

Christina Karakos –Viola (9)

Zak Leger – Whistles and Accordion (4)

Michael Manring –Fretless Bass & Ebow (6)

Jeff Haynes – Percussion (7)

Luis Vilca - Flute (7)

Aaron Dolan – Whistle (13)

Alice Roberts – Harp (12)

Tommy Berre – Nylon String Guitar (10)

 

Keith “MuzikMan” Hannaleck-NAMR Founder

September 4, 2026

Contemporary New Age Instrumental Review and Interview: Bernward Koch-Behind The Hills

A Tranquil Journey Through Nature’s Soundscape 

 

Release Date: August 28, 2026

Two years ago, I covered Bernward Koch's Calming Colors. Now, Behind The Hills has arrived to give listeners a calming walk through the colors that only nature can bring.

Additional musicians are Christiane Boehm (flute), Moritz Koch (electric guitar), and Christoph Koch (cymbals, percussion).

“On and On” starts the musical journey with soft keyboard and a layer of synth. Various tempos in the orchestration are featured on this first track, with a flute interspersed on occasion. The lullaby-like track gets you into the right frame of mind before moving on to the next track.

“Piano at Night” again takes the listener through a relaxing, slow-tempo mix of keyboard layers. As the day turns into night, the sun goes down, and you are ready to relax and reenergize for the next day. It's like guided meditation.

“Sleeping Flowers” has a nice rhythmic flow on the keys, with the synth layer in the background as the keys gradually shift in tempo and you hear nature come through, or an effect that sounds like crickets. Flowers do sleep at night and remerge with the new day’s sunshine, much like the cycle of humans.

The title track is always a significant centerpiece to a recording, and “Behind the Hills” brings the sounds of the piano’s keys into a sharper perspective here. The flute is a welcome addition and always seems to accentuate the keys beautifully. Close to four minutes of uninterrupted musical beauty.

“Beautiful View” mirrors the track title, and the cymbal nuances stay well-timed and understated, matching the overall keyboard transitions and synth orchestrations. The flute and bell ring out, bouncing off each other, adding another element of elegance.

“An Old Castle” comes together like a story told through the transitory keys and synths. That is the goal: to paint a picture of something that has stood for centuries. Music makes it easy to see that picture in your mind’s eye.

“In the Forest” feels light and airy with a fresh perspective awaiting your embrace. The forest holds beauty and secrets untold; however, the key progressions and the flute bring it all to life and put you there for a walk along a path of your own making; follow the melody.

“Inner Treasure” is a phrase you can look at in many ways. For this listener, I choose to look inward to find whatever treasures I may have tucked away in my thoughts or soul. The music prompts you to pull that out. This track sounds cinematic, with rising layers of synths and the flute again adding movement to make it a complete, gorgeous composition.

“Timeless Memory” creates a pause for reflection while still offering listeners a chance to find solace and meditation in the rhythms, tones, and colors that radiate through the keys. Always lovely yet impactful, it begins a process of enlightenment.

“The Linden Tree” keeps the theme of nature and the purity of that thought process intact with a sweet melody that draws you in immediately. The light touch of the keys is what makes each of these tracks so entrancing and inviting. Here, it is reaffirmed with the addition of the flute and a whooshing sound like air passing through.

“Nordic Hills” moves into another scenery painted by the music’s power and resonance. The storylines continue, and as the track gathers momentum, several layers are introduced; the sounds differ from the previous tracks, with a majestic feel.

“Windy Weather” brings the stories and your journey through space and time to a close through the music. Again, something quite different is introduced, with some percussive elements and a steady, pronounced beat weaving through it. Some nice guitar lines enter the mix here; they mesh well with the keys and underlying synth layer that seems to float along lighter than air.

Bernward Koch is truly at one with his music on Behind The Hills. Listening to this album invites you into his world, offering a gentle escape into serenity and reflection. It’s a journey crafted in harmony with nature, encouraging listeners to rediscover their own sense of calm and connection with the world around them.

Keith “MuzikMan” Hannaleck-NAMR Founder

August 28, 2026

Swedish Artist Malou Berg Releases the Piece ”SPIRAL - An Inner Journey”

Snäcksjön, Sweden – Malou Mountain Music is thrilled to release her album Spiral - An Inner Journey on all streaming services. Spiral - An Inner Journey, also released as a CD, is the final release in Malou Berg’s series of nine CDs called The Pleiadian Suite.

Malou Berg’s 40-minute piece, “Spiral – An Inner Journey”, takes the listener on a relaxing and life-affirming journey centered on the theme of birth. It all began when Malou wanted to record a longer piece of music, where the music was created from scratch, from the moment producer Lasse Nilsson pressed the record button.

No structure. No melody. No lyrics. No form. It could have ended in chaos. Instead, what emerged was an evocative piece of magical music.

The journey began when world-class percussionist Xavier Desandre Navarres started playing, without a word, on bowls tuned to 639 Hz—that is, the key of E-flat major, but slightly higher than the traditional Western/German tuning. The piece thus follows the ancient, so-called Solfeggio scale, also known as the “frequency of love”. It is linked to the heart chakra, and is believed to create harmony.

“Many of us haven’t had a clue why, but the Solfeggio frequency feels better in the body than the traditional Western scale,” Malou notes. The scale’s fundamental tone created a sort of “drone,” which in turn laid the foundation for Thomas Hellsten’s deeply musical keyboard playing and Malou’s fantastic vocal performances, which convey a wealth of emotional expression. One can only imagine the mutual trust and sensitivity required for this almost telepathic approach to work.

“Even my singing is exactly as it was at the moment of creation—I haven’t re-recorded or edited anything,” Malou reveals, ”but we did add backing vocals and a few other instruments”.

Framed by a drizzling rain and harmonious birdsong, the various parts flow seamlessly into one another.

Sung in Pleiadian, a language Malou herself invented, the song depicts the seed, something rising up, followed by anticipation, expansion, stabilization, form, and structure, before the time has come for birth. Then comes wonder, relaxation, and stillness.

”Spiral - An Inner Journey” was mixed by experienced and highly talented producer/engineer and musician, Lasse Nilsson. When putting the finishing touches to the mix, Lasse consistently started from scratch, in order to maintain a holistic approach to the piece. Malou also wanted to tie the last part to first one so that the listener can play the track on repeat, and not be entirely sure when it starts over.

“I think it’s absolutely the best mix Lasse has ever done with my music,” says Malou. “It’s airy and exciting, yet nuanced.”

Malou’s songs usually arrive fully formed. Melody and lyrics - the whole package - all at once.

Only then her knowledge and experience take over: arrangement, vocal harmonies and general flow.

“When you receive the songs that way, it’s a gift to myself as well. It allows me to listen to the music and take joy in it. Not because I ”made” it, but because I’ve had the privilege of receiving it”.

“Spiral - An Inner Journey” is meditative, harmonious, and dynamic. It lends itself to both active listening and together with other activities. With its sense of presence, rich sensuality, and playfulness, it is a vibrant, pulsating work of total art celebrating life and its origins.

“Given the state of the world right now, anything that can bring a sense of calm to the body and soul is sorely needed,” Malou observes.

Consciously or not, people strive for balance and healing. The ancient Solfeggio scale helps us in this quest. ”Spiral - An Inner Journey” was released on all major streaming services in the spring of 2026. When the decision to also submit ”Spiral” for the Grammy jury’s consideration reached Xavier, the world class percussionist reacted with delight:

”This album is fantastic, I love it and it’s a beautiful decision to send it to the Grammy awards. This music is made of joy, happiness and the deepest side of our souls. We made a wonderful connection, and Lars magnified the result of these sessions”.

Sweden, August 2026 – Listen to SPIRAL - An Inner Journey

Spiral is available on all major streaming services

Listen on malou.se: https://www.malou.se/en/album/spiral-an-inner-journey
Spotify:  https://open.spotify.com/track/0VWE9dFiRooHwu3QDzxouA?si=c89ec66b232c4764
Apple Music: https://music.apple.com/us/song/spiral-an-inner-journey/6766096561
Tidal: https://tidal.com/album/521255093/u
Youtube Music: https://music.youtube.com/watch?v=NQG0Eu1Sy5A&si=le4RkX4rrOn1YQtD

Official Website: https://www.malou.se/
Facebook: https://www.facebook.com/MalouBergMMM/
Instagram: https://www.instagram.com/maloubergmusic/

Contact information: Malou Berg, Malou Mountain Music AB Phone: +46 70-316 3100 info@malou.se

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

New Age World Instrumental Review and Interview: Miki Saito-Tales of Shinobue

 

Tradition Meets Modernity: Bringing the Shinobue Flute into Contemporary New Age

Miki Saito began playing the Shinobue flute at age 54, and the Tales of Shinobue album marks a deeply personal chapter in her musical journey.  She also provides keyboards, composition, and production elements for the recording.

Through her compositions and performance, she brings this traditional Japanese instrument into a contemporary setting while preserving the character and voice that make the Shinobue unique. She released her first single at 60, bringing music she'd kept locked away for years into the world. The Tales of Shinobue album arrived in May 2026.

The cover art offers an immediate glimpse into a world of beauty and solace, and the rising mist covering the mountains is simple yet impactful.

“Zen Awakened (2026 Remaster)” begins your journey to another place and time. Tradition meets the foundation of new-age principles and music. The flute has an echoing, mystical sound, and a steady layer of keys provides a soft path for it to follow. This is a wonderful way to start, bringing calm and peace into a meditative experience through sound and one artist's vision.

“Ryugujo (Undersea Palace)” gave me pause because I had just watched the last episode of Unsolved Mysteries (2025) with William Shatner, and it focused on underground caves and ancient aquifers.  Ryūgū-jō, or Ryūgū, is the supernatural undersea palace of Ryūjin, or the Dragon God, in Japanese tradition.

The opening sounds are ocean waves, seagulls, then the entrance of keys, and finally the flute and its magical, magnetic pull. The sound is simply entrancing, and the mix of different elements and layers creates an atmosphere of tranquility and reflection. The sound of waves is instantly calming and natural, and it enhances everything else.

“Even If I Fall” is the longest track at 5:08. The undercurrent of consistent keys is a perfect setting for the flute to float over. Like a river of sound that knows exactly where it is going, it comes together nicely into a superbly crafted meditative composition. The title suggests strong faith that, whatever happens, it's all going to be ok. This music certainly supports that thought stream.

“Red Moon” starts much differently than all the prior tracks. Almost like a staccato pulse comes from the flute for a brief time, then changes the flow you have become accustomed to with the ever-present synth and its floating feeling as the flute's notes permeate the atmosphere around you; it’s a melody and dance of nature brought to life.

“Stardust” gently transitions you to another place, offering peace and stillness within the music. The flute's melodicism is strong throughout this recording, and the synth underneath is the perfect partner to bring out the main instrument's presence. This is healing music and takes only a few seconds to take hold and immerse you.

“Unshaken” is the shortest track at 2:17, with the steady synth layer underneath and a lovely melody from the flute flowing like a river with purpose. Excellent.

“Midnight Lotus” starts with the right tones and atmosphere, carrying a sense of mysticism and purposeful messages in the flute's notes. The synth is like a sweet drone of focus as the flute leads you down the path to the sacred lotus flower. The hypnotic tones of the Shinobue will mesmerize you. The effects and purpose remain unchanged, and the melodies will stay with you; that's true here as well. The bell rings, adding an extra focal point for meditation. It feels very spiritual.

“The Calling” returns with the sound of nature, the waves and birds calling, as the flute is interspersed for a blend of music and nature that feels right. At one point, the flute stops, and the waves grow stronger, along with a tambourine; then the flow and melody shift as percussion is added. This is the closer and most complex track, with the various elements merging; although only one person creates this music, it ends up sounding like a complete ensemble. It ends with the ocean waves, perfect!

Miki Saito’s journey is a testament to perseverance and creative spirit. She proves that it’s never too late to reach for your dreams or share your gifts with the world. Tales of Shinobue is not only a remarkable musical accomplishment but also an intimate reflection of a lifetime’s emotions and experiences, woven into every note.

Keith “MuzikMan” Hannaleck-NAMR Founder

August 20, 2026

New Age Instrumental Review: Guy Renardeau and Juliet Lyons - A Peaceful Tomorrow

Escaping the Chaos: An Invitation to Stillness and Connection

The first thing I read about the recording A Peaceful Tomorrow by Guy Renardeau and Juliet Lyons was this:

In a world overwhelmed by noise, division, and uncertainty, A Peaceful Tomorrow offers stillness, hope, and human connection. Created as an invitation to step out of chaos and into an ocean of calm, the album imagines a future shaped by compassion, reflection, and healing through music.

The times are always changing; however, this has never been more applicable to daily life than now. With 24/7 media pummeling us, it seems like the window to escape it all is getting smaller. That is where the opportunity to stop and listen rather than view and absorb comes in. Music is and always has been the savior of humanity.

“Compassion” begins your journey with a soft invitation from a slow-tempered keyboard and a lovely wordless vocal. This is a doorway to the solace and reflective state that could be for total relaxation, letting go of the day, or the beginning of a meditative state. Blissful and heavenly…

“Calling Of Dawn” continues with the mantra of healing.  A soft drone provides a focal point as the gorgeous vocals take shape. Patricia Bahia, Kavita Baliga, Anita Lerche, Emer Kinsella, Nitanee Paris, Robin Sandoval, and Seay form the vocal ensemble that makes this a layered vocal masterpiece along with the instrumentation. It feels deeply spiritual and moving.

“Inspirations” begins with a rhythmic keyboard flow, changing the recording's trajectory minus the vocals. The meditative aspect continues to hold strong; however, the mood shifts into a more introspective way. Short and impactful.

“Gift Of The Lotus” brings back the vocals and a nice percussive element, keys, and flute. Rhythms are the heartbeat backing the beautiful vocalizations. The atmosphere feels airy, and the significance of the lotus flower is the focus here.

“Horizon” starts with a nice guitar with a resonating tone and superb bass tone. Very different from all the previous tracks and beautifully done.

“Voices For Peace” is repeated throughout this track, with a keyboard gently backing the statement as it permeates your surroundings and invites you to let it fill your heart and soul. Believe the words and let the music reinforce it.

“Heart of Hope (ft. Gem Auset)” features another lovely wordless vocal adaptation as the layers of music mix perfectly. The sounds of strings and synths come together to form the perfect partner for the heavenly sounds coming from another enlightened individual, offering you time to release and reenergize with a different mindset.

“A Peaceful Tomorrow (ft. Sara Parsaei)” brings this journey to a close with an entirely different mix of sounds and textures. It all sounds like it's coming from a place of deep reflection and spirituality, with roots in ancient beliefs and sounds. The flute is the main instrument here, interspersed with the Arjan. At 4:16, it is the longest and most prolific track yet, giving the listener another view of how diverse this recording is as you move from track to track.

A note of significance is the Arjan Harp (or Arjan Lyre / Chang-e Arjan): An ancient Persian frame harp dating back roughly 3,400 years to the Elamite civilization. Discovered through archaeological artifacts near the ancient city of Arjan (modern-day Khuzestan province, Iran), it is one of the oldest known plucked string instruments from the Middle East.

A Peaceful Tomorrow is an invitation to find tranquility in the present moment. Guy Renardeau and Juliet Lyons, together with their remarkable ensemble, have crafted a rich and diverse album that gently guides listeners through eight unique soundscapes. The album’s evolving flow and rhythms consistently lead you to a place of renewed consciousness, offering peace and connection with every note.

Keith “MuzikMan” Hannaleck-NAMR Founder

August 11, 2026

7D Media Presents Solace, a New Ambient Jazz Album by Jonathan Crossley, David Kollar and Lukas Ligeti

Special guest: Arve Henriksen

Watch the video for ’They Are Coming’: https://youtu.be/6xCPODJPi3A

Release date: September 11, 2026 | Cat# 7D2602

Genre: Ambient Jazz

Secondary genres: Electroacoustic improvisation, Experimental jazz, Fourth World / post-Fourth World

Santa Fe, NM — 7D Media is proud to announce Solace, a dynamic new set of wholly improvised works from Jonathan Crossley, David Kollar and Lukas Ligeti. Recorded in June 2024 during an artistic residency at the University of Liverpool, the project captures three singular musical minds in deep, real-time dialogue.

On this recording, the digitally enabled guitar practices of Crossley and Kollar intersect with the polymetric, Africa-inflected drumming of Ligeti, generating environments that move between ambient, pulsating and rhythmically intricate states. Crossley's playing fuses guitar, synthesis and real-time digital control into an expanded, gestural improvisational language, while Kollar treats the guitar as a vehicle for expansive, genre-defying expression, ranging from tonal abstraction to avant-garde interplay. Ligeti's drumming draws on experimental, jazz, contemporary and world traditions, weaving overlapping polyrhythms and cross-cultural influences into a percussive approach that is both grounded and exploratory.

On the title track, Solace, the trio are joined by Arve Henriksen, whose haunting trumpet work paints a picture of melancholy and openness within this improvised setting, adding an expansive, textural dimension that underscores the album's emotional and sonic breadth.

The tracks Solace and They Are Coming are already available for purchase/streaming.

Track Listing
1. Solace (10:04)
2. Interlude (2:16)
3. They Are Coming (6:45)
4. Freedom to Choose (3:28)
5. Imagining Marrakesh (3:47)
6. Games to Play (3:08)
7. You Don't Know What to Do With Your Life (4:11)
8. Coda (8:17)
9. Dub Ephemeral (7:52)

Personnel
Jonathan Crossley – Guitar, Synth-Guitar, Bass
David Kollar – Guitar, Synthesisers
Lukas Ligeti – Drums
Arve Henriksen – Trumpet

Production
Recorded live at the University of Liverpool by Phil Almond-Higgins, 27 and 28 June 2024.
Additional recording by Jonathan Crossley and Arve Henriksen.
Mixed by Jonathan Crossley.
Mastered by Andrew Larrabee.
Artwork and design by Michal Kořán.
Label: 7D Media — 7dmedia.com

To pre-order: https://7dmedia.com/solace

For more information:
https://www.lukasligeti.com/
https://davidkollar.com/home
https://www.jonathancrossley.uk/

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

Contemporary New Age-World Instrumental Review & Interview: Terry Lee Nichols-A Sky That Knows Our Names

Exploring the Cosmic Soundscape of Terry Lee Nichols’ Masterpiece

Release Date: July 20, 2026

Terry Lee Nichols’ album, A Sky That Knows Our Names, was recorded with the Budapest Art Orchestra and featured an outstanding group of guest artists.

I have had the distinct pleasure of covering this artist’s releases, and each one has offered something unique in concept and sound from track to track. I would expect nothing less with this recording. In fact, based on the statement made in the press release and what it means, I think I am in for his most prolific recordings to date.

“The Celestial Traveler” begins our journey. The sounds of tribal drums and jungle animals are heard, then the bass begins; it's like a compass for everything else that arrives in color and sound. The keys have a distinct jazz flavor as the backbeat continues to push things along nicely. Some scat comes into play, but it sounds quite different, sprinkled over with a flute. This is an amazing start to this musical cornucopia of sound!

“In the Beginning, Light Danced,” and this is in reference to the “Big Bang,” when stars and planets began to take shape in our ever-expanding universe. Wordless soaring vocals create a layer of intrigue and emotion. The keys are dancing, measuring each step carefully and quite beautifully. It’s the dance of light and life with some lovely, layered orchestrations. A violin is added for more subtle drama towards the end.

“Hadean Fire” opens with emotive, wordless vocals, which prove highly effective in this presentation as the sights and sounds are gradually added to create an overall effect. This one takes on an entirely different atmosphere and energy. Echoing keys and rolling sounds of kettle drums remind me of Dante's Inferno. About halfway through, it transitions to a more lighthearted passage with just the keys, as the sound of a cello is added. That one sound is so distinctive, like a tear falling from your eye; it makes its mark. This is a dramatic classical masterpiece with many transition points and layers.

“Snowball Earth” once again keeps the flow of changes coming. This time, it’s a synth that opens the sounds as the violin is quickly added, then another layer of orchestration from the synths. This is a gorgeous soundscape and a perfect soundtrack for Mother Earth. Soft, beautiful, and inviting as music can be. It's like a meditation piece or a state of deep relaxation, easily found within the music.

“The Dawn of Life” is the epic of the recording, clocking in at six minutes. Rain is falling, the giver of life itself. The sound of woodwinds and their earthy tones begins its dance around the fires emerging from our newly formed earth. All the color and pageantry of the beginnings of life, from primordial ooze to the oceans, are now taking place. The orchestration, with keys tinkling, and the composition's gradual movements mimic this amazing process that unfolded over many millennia. The orchestrations are layered in and around the simple keys, punctuated by the sound of a harp; the perfect balance of instruments is achieved for full effect. It's like watching life unfold in 3D in your mind's eye. Instrumental bliss from start to finish as the sound of waves reaches the final moments prior to closing.

“Devonian Dusk” refers to the Devonian Period, a geologic time interval that lasted from approximately 419.2 million to 358.9 million years ago, known as the "Age of Fishes" for the significant diversity of fish species. A lovely slow-tempo keyboard begins with a faint synth orchestration in the background. The pace picks up gradually as a melody forms. It is pleasingly relaxing and meditative as you reach back to the beginning of time once again, wondering what you will find along the way. Absolutely beautiful.

“Babel” begins with the sound of a baby, then launches into a fully orchestrated, layered epic with wordless vocals. It goes from the innocence of a baby to dark-edged passages. It takes on a fast-moving tempo with strings and orchestrations. Full-on classical drama; the only thing missing was an opera singer telling the story; however, the music’s impact did the job.

“From Stone We Built the Sky” has a short burst of wordless vocals, then right into the keys and orchestration we go again. This is another soundtrack going from soft and beautiful to dramatic shifts in layers that raise your level of interest and anoint your spirit with reflection and a chain of thoughts, the kind that great instrumental music can only evoke within a listener. And for the first time, I briefly heard an electric guitar.

“In Grateful Silence” features a spacey entrance, and the sound of chimes serves as a doorway to your next space in time, a reality created by sounds and color, imagined through the fingers of one artist. The tempo of the keys is carefully measured to emphasize the track's meaning.  Time and space to reflect are offered before the recording gets ready to close out.

Fittingly, the title track “A Sky That Knows Our Names” ends this amazing story of the beginning of the universe and our beautiful pale blue dot. The orchestra is in full striking bloom, ranging from gentle to more moving passages as the keys take their steps carefully to accentuate the power of classical music and how the other elements of the music are seamlessly woven in to paint the picture; the final strokes of the broad brush of Terry Lee Nichols and his most accomplished work come to an end.

Final Reflections and Album Impact: With A Sky That Knows Our Names, Terry Lee Nichols not only achieves a new pinnacle in his music and storytelling but also invites listeners on a profound journey through the depths of human existence and the mysteries of our origins. The album’s sweeping concept and consummate execution make it a truly unforgettable experience—one that will be hard to surpass.

Keith “MuzikMan” Hannaleck-NAMR Founder

July 18, 2026

New Age Instrumental Track Feature: Victor Towle-Waiting For Today Track

"Acoustic Medicine for the Modern Soul"

 hhttps://www.victortowle.com/

With his new single “Waiting for Today” and the title track from his upcoming album, Victor Towle brings a spiritual energy to the New Age music scene. His acoustic guitar playing is crisp and clear, resonating with a wide range of listeners who enjoy instrumental music.

With a focus on the simplicity of sound and textures, his six-string brings a flow of relaxing tones and colors to prospective listeners. There is also a distinctive rhythm to his playing, as he accentuates the lead notes with steady, clock-like precision.

Guided by his commitment to rehabilitative and meditative practices, Victor Towle channels that inspiration into “Waiting For Today.” The track radiates restorative energy, reaching listeners across the globe—many of whom may not yet realize how deeply they need its healing influence. Through his music, Towle invites the world to experience the transformative power of his purpose.

Keith “MuzikMan” Hannaleck-NAMR Founder-June 14, 2026

New Age Ambient Instrumental Track Feature: Monster Taxi-Healing

 Finding Comfort in the Ambient Textures of Monster Taxi’s "Healing"

Monster Taxi is the musical alter ego of producer and keyboardist Jason Klein, whose ambient, new-age chill tracks have resonated with listeners around the globe.

Reflecting on his latest release, Jason shares: “‘Healing’ is a powerful song speaking to recovery, strength, and hope for anyone fighting through illness, heartbreak, or life’s darkest storms. It’s a tribute to the tenacious human spirit and the courage it takes to keep going.”

We all face physical, mental, or spiritual hurdles in life, and music has an unmatched power to serve as a universal healer. Through “Healing,” the seamless interplay of sound and imagery creates a sanctuary where listeners can rest, reenergize, and emerge with a renewed spirit.

The track's cover art—a vibrant, sunlit waterfall—instantly evokes a sense of spiritual connection. Musically, this new-age ambient piece offers an immediate, liberating escape. Driven by a gentle backbeat, layered keyboards, and chirping synths that beautifully emulate birds, it coaxes you into a safe space entirely your own.

For me, the track felt joyful, bright, and deeply comforting. It serves as a warm reminder that no matter the challenges we face, everything will be alright. That kind of profound reassurance is rare in daily life, but “Healing” effortlessly helps us reconnect with our higher selves and find clarity. In just three minutes and twenty-six seconds, it delivers all of this and more.

Keith “MuzikMan” Hannaleck-NAMR Founder-July 17, 2026

https://www.monstertaxi.com/m/ 

Monster Taxi is the alter-ego of Miami music producer and keyboardist Jason Klein. Klein has worked on recordings for several major and indie artists including Mariah Carey, Ricky Martin, and Earth Wind & Fire.

 

 

 

 

 

 

 

Contemporary Instrumental Review: RH Fox-Painting in The Dark

 An Evocative, Lyrics-Free Journey That Speaks Directly to the Soul 

Painting in the Dark marks the debut of RH Fox, a classically trained artist, composer, and photographer who channels visual inspiration into cinematic, contemporary instrumental music.

After one listen, it was easy to see how the cover art aligned with the music.

“Follow the Creek” begins with a lovely tinkling piano intro, then quickly develops into layers of keys, with a violin added for elegance. The music transitions beautifully from one tempo to the next, and the keys shift accordingly. An atmospheric and picturesque beginning that reflects the album artwork's beautiful pastel coloring.

“Reflections of Yesterday” continues the musical flow, underpinned by classic runs on the keys, mixed with a contemporary new-age flavor and color. It is both uplifting and reflective as the piece gathers momentum.

“The Mystic” opens with a gorgeous, wordless vocal that is very short but effective, ushering in the music with the elegance evident in every note. Once again, the violin adds its beauty and reinforces how great a partner it is for keyboard accompaniment. An acoustic guitar arrives with a Latin/Gypsy flavoring for a short time. As it progresses, it becomes more colorful and enigmatic and a direct reflection of the track title. Excellent!

“Passage of Time” gives you pause to reflect, as the title may suggest. A soft piano leads the way, with the strings providing a longing accompaniment. It is musical cinema with drama and a touch of sadness that only time can properly form in your mind and heart. Moving and emotive with dark and light passages.

How does one begin “Painting in the Dark”? I think it’s a term about how music can be so expressive, taking a blank canvas and creating something meaningful without words. As with instrumental music, it shares the same concept of a work of art, interpreted through what the eyes see and what the painted picture evokes in everyone. The keys are simply beautiful and affecting here, as other layered synth-based sounds enter the mix to support the melody, creating a complete composition.

“Magic of the Moment” takes on a different tempo and color. This is the longest track, which is nearly 4 minutes. With the softness of the keys and perfectly placed simple acoustic guitar notes, the moment becomes magical, like the ease and grace of a river flowing into the sea, with nothing to impede its progress. Treasure your moments because they disappear as quickly as they arrive.

“Visions Never Seen” can be interpreted as something esoteric, held within the mind’s eye, accessible only to you. The keys invite you to look inward and let the energy flow, much like they float off the artist’s fingers. The sound of chimes blowing in the wind is like a door opening for you to walk through; the music creates a beautiful road to get there.

“Crane Dance” carries a lovely melody from start to finish. The keys transition back and forth from a steady flow to a more pragmatic, thoughtful pace. This is music for relaxing, meditating, or reflecting on your day. In the same instance, it may push you into another time and place that you remember as significant in your life, bringing a smile to your heart or a tear to your eye. This music can take you anywhere you want to go.

“Free as a Bird” may remind you of its release as a finished product with The Beatles. With John Lennon gone, it was a tribute to his soul being free from the confines of this earth and physical form. The melody was recognized instantly, and I appreciated the different roads the keys took, like an improvisational off-ramp for further exploration of the human condition. This is excellent!

As the recording ends, “Seabirds' Lament” takes you on one last journey of musical excellence and beauty. The keys are a powerful instrument of light and melody, and the acoustic guitar notes add a different ambiance. As each passage of the composition shifts into tempos of thought and images, your emotions take hold and carry you somewhere else. Like the wings of the bird flying over the sea, your journey of discovery continues, and the best part is you don’t have to land; just keep flying on this gorgeous instrumental music.

RH Fox’s Painting in the Dark invites you on a journey through thoughts, colors, and emotions, offering a welcome escape from the demands of daily life. The calming tones and carefully crafted melodies gently rejuvenate your body, mind, and spirit, delivering a sense of peace and renewal. Free from the constraints of lyrics, the music speaks directly to the soul—reminding us that sometimes, the most profound stories are told without words.

Keith “MuzikMan” Hannaleck-NAMR Founder

July 15, 2026

New Age World Fusion Review and Interview: Kimberly Haynes - Into The Light

Release Date: August 18, 2026

Label: Wise Old Owl Records

Website

Releasing One Soul, Healing Another: A Profoundly Moving Orchestral Song Cycle of Love and New Beginnings

Kimberly Haynes elevates her music to profound personal depths on Into The Light. This orchestral song cycle, seven years in the making, guides listeners through grief and renewal, inspiring reflection and connection.

“Grant Us Peace” begins your journey Into The Light. The soft acoustic sound of the mandolin’s strings, combined with keys, bass, and Kimberly's angelic voicings, creates a meditative space infused with divine essence and spiritual calm.

“Narrow Bridge” begins with a trumpet and synths. Kimberly’s vocals are from the Baal Shem Tov.  Israel ben Eliezer[a] (c. 1700[2] −1760[3]), known as the Baal Shem Tov (/ˌbɑːl ˈʃɛm ˌtʊv, ˌtʊf/;[4] Hebrew: בעל שם טוב) or BeShT (בעש״ט), was a Jewish mystic and healer regarded as the founder of Hasidic Judaism (source Wikipedia).  A baal shem tov is a "Master of the Good Name"—that is, one able to work miracles using a secret name of God.

This is the longest track at nearly eight minutes. It is beautiful, and I did not understand a single word, but I was still profoundly moved by the vocals and the sheer beauty of the musical accompaniment. I have not heard anything quite like this before; truly amazing.

“I Am My Prayer” gave me the chills immediately, hearing Kimberly’s deceased husband Brian’s voice. This must have been so difficult for her, but the meaning goes beyond words. The music is a perfect partner, particularly the cello’s strings, which add a longing, dramatic color to the composition. Gentle keys fill the spaces as the lady says goodbye to her lover and friend with her words on the wings to a higher place for her soul mate. Tears started coming, and I could not stop them. So powerful and full of absolute love and promise of another life beyond this one.

“Into The Light” features keys and a string arrangement. The orchestral elements serve as the final touch to this woman’s incredible voice. The energy and flow of this track are simply beautiful and so moving, as is all this music. Kimberley’s voice is the main instrument on this recording and reaches incredible heights throughout.

“The Lion Sleeps Tonight” or "Mbube"[a] is a popular song written and composed by the South African musician Solomon Linda in 1939. It was first published in South Africa and reached the United States a decade later. In 1961, the Tokens adapted the melody and added English lyrics.

This is quite a step away from all the previous tracks and came as a welcome change. I was feeling overcome with sadness and loss (because of my own life experiences), and this felt like a relief valve and a pause to exhale and remember, so many years ago, my youth. Done very well with cajon, bass, acoustic guitar, charango, organ, piano, drums, and djembe!

“The Enchantment” (Sita Ram) is a crystal bowl and percussion piece, a very simplistic composition, and a mesmerizing chant with the hypnotic beats of the drum. I found this piece meditative and focused, with some layered vocals that just have you drifting away from your current space with ease. Simplistic beauty and perfection.

“Moola Mantra” features the Bansuri and percussion. Once again, I am hearing words I do not understand in an English-speaking way; however, I did so in another, spiritual and transcendent way. A bansuri (flute) is an ancient side-blown bamboo flute originating in the Indian Subcontinent. Its notes float with the rhythms and passages of Kimberly’s incredibly flexible, transitioning vocals—a very organic, earthy track with impact.

“Cielito Lindo” returns to the simple road with acoustic guitar and vocals. It is a Mexican folk song, or copla, popularized in 1882 by Mexican author Quirino Mendoza y Cortés, and is associated with the Sierra Morena mountains in Spain or Mexico. You will recognize it immediately. I found it a lovely, interesting way to close out the album.

Into The Light stands out as one of the most moving and distinctive recordings, I’ve encountered this year. The instrumentation, production, and overarching purpose of the album beautifully convey the journey of one soul releasing another into the light. The interplay of words and music radiates optimism, emphasizing themes of hope, renewal, and spiritual awakening, thereby deepening the emotional connection for potential listeners. While themes of sadness and loss are present, the album ultimately offers a message of illumination and renewal, a beacon guiding the way toward new beginnings.

Keith “MuzikMan” Hannaleck-NAMR Founder-July 10, 2026

Tracks and Credits:

1. Grant Us Peace (5:40) 

Produced by: Kimberly Haynes & David Vito Gregoli

Composed & Arranged by: Kimberly Haynes

Vocals: Kimberly Haynes

Mandolin, Piano, Synthesizer, Bass, Arrangement: David Vito Gregoli

Crystal Bowls: Jeralyn Glass

Percussion & Drums: MB Gordy

Music Consulting: Richard Bowers

2. Narrow Bridge (7:56) 

Composed by: Kimberly Haynes (from the Baal Shem Tov)

Produced by: Kimberly Haynes & David Vito Gregoli

Keyboards, Bass, Percussion, 12-String Guitars: David Vito Gregoli

Trumpet: Jeff Oster

Tabla: TJ Troy

Drums & Percussion: Ben Leinbach

Choir: Julia Fordham, Tina Malia, Quincy Coleman, Mary Isis, Mary Gospe, Ben Leinbach, David Vito Gregoli, Prem Vidu, LumiZone (Alex Perez & Sidsel Ben Semmane)

3. I Am My Prayer (5:43) 

Composed & Arranged by: Kimberly Haynes

Vocals: Kimberly Haynes

Keyboard: Darby Orr

Cello & String Arrangement: Hans Christian

4. Into The Light (4:48) 

Composed & Arranged by: Kimberly Haynes

Vocals: Kimberly Haynes

Keyboard: David Vito Gregoli

String Arrangement: Tim Kelly

Music Consulting: Richard Bowers

5. The Lion Sleeps Tonight (4:01) 

Produced & Arranged by: Kimberly Haynes

Lead Vocal: Kimberly Haynes

Background Vocals: Joshua Haynes, Adam Haynes

Cajon, Bass, Acoustic Guitar, Charango, Organ, Piano, Drums: David Vito Gregoli

Djembe: Prem Vidu

6. The Enchantment (Sita Ram) (6:26) 

Arranged & Produced by: Kimberly Haynes

All Vocals: Kimberly Haynes

Crystal Bowls: Kimberly Haynes

Percussion: MB Gordy

7. Moola Mantra (5:24) 

Composed & Arranged by: Kimberly Haynes

Vocals: Kimberly Haynes

Percussion: MB Gordy

Bansuri: Manose Singh

Music Consulting: Richard Bowers & John DeFaria

8. Cielito Lindo (4:05) 

Vocals: Kimberly Haynes

Acoustic Guitar: Angelo Metz

ALBUM CREDITS

Mixing & Mastering: Todd Boston

Album Art: Kimberly Haynes

New Age Contemporary Instrumental Review and Interview: James Michael Stevens-Into The Sunset

 Release Date: June 19, 2026

Label: Independent

Website

Shifting from melancholic dawns to serene settings, a beautifully measured soundscape where every conclusion becomes a new beginning.

James Michael Stevens is a Nashville-based composer and pianist whose solo piano recordings have earned him a devoted following in the New Age and contemporary instrumental music world. He serves as Dean of The School of Music at Welch College in Gallatin, Tennessee.

He has been releasing original music at a pace that sets him apart from nearly anyone else working in the genre today, averaging at least one album per month for several years running. That is an astounding amount of music to be released and unheard of.

Into the Sunset is the latest offering for dedicated followers and newly initiated listeners, including me. Using classical music as a foundation, the artist takes the listener on a contemporary new age instrumental journey. Paying attention to the track titles is important if you really want to get the message in the music.

“Into the Sunset” begins the album sweetly with gently flowing keys at a slow tempo. The picture that comes to mind is one many of us experience at the end of a day: the slow ascent of the sun over the horizon. The notes emphasize the beauty you can behold as nature unfolds over our 24-hour cycle.

“Memories in a Dream” picks up the pace ever so slightly, with more emotional notes that fit the music’s deliberate pacing, emulating the thought process we go through after lucid dreaming. The last note is a heavy bass that resonates for a few seconds before fading out.

“Time Drifting By” is quite melodic. It weaves a tapestry of notes into a multi-hued dimension in time. It is a gorgeous composition that soothes and calms as time really does drift by, but in a quite beautiful way.

“Serenity Lake” is a short-lived but just as poignant as the previous tracks, clocking in just under 2 minutes. Short, sweet, and memorable. This solo piano is expressed in the simplest, most efficient way with optimal impact.

“A Still Space” takes its time, and if you reflect on the track title, it makes perfect sense. The tempo is measured just right for the effect of stillness, yet the music you hear is moving just the same. It doesn’t seem to matter how the music is presented; the impact is always felt just in different ways on an emotional level and in how you react to it.

“Gray Dawn — Piano Solo” takes you into a different space in time. The shadows, the grey areas of life, and the emotions cannot always be explained, nor need to be. The feeling is there, the thoughts, all the emotions, all in one track, are imbued with all these elements of human conditions.  Melancholy personified by one man and his talented fingers.

“Late Night Café — Piano Solo” takes on a lighter air but mellowed out as the previous tracks just differently once again. The shifting motion of the keys lends beauty and substance, creating the ambiance of that café in your mind’s eye.

“White Petals at Night” is the flower of music unfolding. It sounds like a soundtrack to a beating heart that everyone can hear. It is a lovely melody, just a few seconds over 2.5 minutes. So much can be said in one song, and it does not have to take that long. The artist continues to prove that a track’s overall impact does not depend solely on time.

“Cry Me a Dream — Piano Solo” starts, and I felt an immediate sense of sadness. As the word “cry” does not indicate happiness, that thought is placed into your subconscious. The music gives you the feeling that emotions are running high, yet what you hear is so calming and beautiful that the sadness melts away.

“Peace, My Love” is the final message to your loved one, whomever that may be. The piano speaks a thousand words without the accompaniment of a human voice. The flowing notes build on the previous tracks’ steady foundation of a soothing, relaxing atmosphere, even though a range of emotions can be felt throughout. That takes a lot of talent to make that happen.

James Michael Stevens crafts a vivid, picturesque soundscape on Into the Sunset, painting evocative scenes with each piano note. Every track unfolds like a chapter in an intimate memoir, guiding listeners on a journey that feels both personal and universal. Stevens’ compositions transform each "ending" into a gentle invitation to reflect, dream, and anticipate the next chapter—reminding us that every conclusion is, in fact, a new beginning.

Keith “MuzikMan” Hannaleck-NAMR Founder

June 26, 2026