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

Contemporary New Age Instrumental Review and Interview (Theresa Bentley): The Bentley Project - Blossoming of Ancient Beauty

Release Date: January 16, 2026

Label: Wayfarer Music Group

Website

The Bentley Project is a talented ensemble of musicians led by the husband-and-wife duo Theresa and Mark Bentley. Their latest release, Blossoming of Ancient Beauty, offers light in the darkness, delivering hope and transformation through their music.

Beyond the captivating vocals, the instrumentation is truly impressive. Harp, piano, synth, French horn, classical guitar, acoustic guitar, fretless bass, cello, crystal sound bowls, and flute are masterfully woven into the tracks. Also notable are the guest appearances of Sean O'Bryan Smith (fretless bass) and Dino Pacifici (Composer, Guitar, Synth).

“Realm of the Crystal Room, Featuring Sean O’Bryan Smith” takes listeners on a musical journey into another realm of existence. The harp and ethereal, wordless vocals gently guide and soothe you, allowing your consciousness to shift into deep relaxation or meditation. Nearly five minutes is the ideal duration to reach this state.

“Breathe” is a powerful word—one we should all remember when stress threatens to overwhelm us. This track continues the journey begun by the opener, offering a sanctuary for release and renewal. The harp is exquisitely inviting, its ethereal quality conjuring a sense of magic and serving as a doorway to bliss.

“Labyrinth of Love” is the shortest track at 2:55, yet it accomplishes so much in that brief span. Its melody, tinged with Celtic flavor, gently carries you along, as if fairies in the forest await your arrival. Sweet and full of wonder, this piece offers a delightful change of direction.

“Sun on My Face, Featuring Dino Pacifici” opens with a flowing acoustic guitar, soon joined by other rich elements. A distinct jazz tone weaves through the track’s new-age foundation, inducing the “quiet storm” aesthetic often found in smooth jazz. Subtle Latin flavors blend seamlessly with delicate guitar picking, creating a captivating listening experience.

The title track, “Blossoming of Ancient Beauty,” takes center stage. The cover art brings its name to life, depicting a face reminiscent of ancient Greek sculpture, with orange hues that suggest the patina of time while preserving its beauty. Jazz inflections intertwine with contemporary new-age sounds, creating a sublime piece that leaves a lasting impression.

“End at the Beginning” is a thought-provoking phrase—one that resonates personally for each listener. The music gently encourages introspection, with soft guitar lines and a mesmerizing harp-like sound that lull’s you into a dreamlike state.

“Give Me Life, Featuring Sean O'Bryan Smith” brings the fretless bass to the forefront, its resonant tone serving as a pillar of strength. At the same time, the gorgeous vocals serenade the supporting instruments. Here, the French horn makes its debut, adding a distinct texture and essence to the piece.

“Lost in the Water Garden” offers a measured tempo, radiating warmth and softness consistent throughout the album. The simplicity of the harp’s strings creates an enchanting soundscape that draws you in. This track is ideal for relaxation or meditation, both in its music and duration.

“Sanctuary of Dreams” concludes the album as its longest track, spanning 6:08. The music envelops you, giving ample time to settle into deep relaxation or meditation. Lush synths create a floating layer of ambient texture and color, opening a window in time for your consciousness to rejuvenate. Influences of legends such as Vangelis and Tangerine Dream are evident, whether intentional or simply resonant with the band’s own style.

Blossoming of Ancient Beauty reaches back across millennia. The combination of evocative cover art, intriguing track titles, and the seamless merging of instruments and voice creates a contemporary new age instrumental journey that invites repeated exploration.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 16, 2025

Tracks:

1. Realm of the Crystal Room, Featuring Sean O’Bryan Smith 4:48

2. Breathe 4:24

3. Labyrinth of Love 2:55

4. Sun on My Face, Featuring Dino Pacifici 4:01

5. Blossoming of Ancient Beauty 3:29

6. End at the Beginning 2:46:

7. Give Me Life, Featuring Sean O'Bryan Smith 3:18

8. Lost in the Water Garden 4:15

9. Sanctuary of Dreams 6:08

Contemporary Instrumental-New Age-Jazz-Country Review and Interview: Lynn Patrick -Water Stones

 Release Date: October 25, 2025

Label: Dakota Ridge Records

Website

Guitarist Lynn Patrick chose the title of her most recent release, Water Stones, as a metaphor for resilience and transformation. Just as water smooths stone, she sees life’s challenges as experiences that shape the heart toward peace and compassion.

Interpreting that kind of thought process or belief into sounds that please the mind, body, and spirit has always fascinated me as a listener. That feeling and sense of connection are quintessential reasons why I love instrumental music.

“Surfing Lu Lu” starts off with soft acoustic picking and tasty rhythms, set to a bright tempo. The sounds flow with a light ambiance, flavored with smooth jazz that floats seamlessly through the air. A lovely way to get you into your mental “comfy chair.”

“Made Your Escape” keeps the flow going with a different pace and layers of six-string beauty. The lead guitar blends pleasantly with the rhythm lines. Elements of jazz and new age music converge to create an inviting and positive atmosphere throughout the piece.

“When You Find What You’re Looking For” continues with uplifting sounds as the guitar and mandolin create a union that feels meant to be. The rhythms remain toe-tapping, and the consistent flow and approach of these compositions are simply a delight for the senses. Precision guitar lines enhance jazz and new-age inflections with perfection.

“Breezy Sassafras” feels like a soft breeze blowing over your face. Sailing on the ocean on a bright summer day came to mind. As you move through each track, you hear many genres merge into a cohesive sound. I heard blues (with the poignant guitar leads) and jazz on this track, with an underlying new-age approach.  

“Unknown Changes” has a down-to-earth folk-country base, with subdued yet effective lead notes that are bright and perfectly placed between the rhythms. Although it seems unrelated to the track title, it summons up thoughts of riding across open plains as the sunset drops over the horizon, with the sound of a galloping horse in the background. Good music evokes these images in your mind’s eye.

“Water Stones” is soft and warm, flowing like a clear, running stream of consciousness. The acoustic picking is extraordinary and moving, like water over stones, leaving an impression over time and through consistency.

“Love Is Here” is the longest track at 4:14, which feels appropriate given its title. Coming from a place of the heart is the true nature of mankind. Here, music offers a new perspective on life and fosters gratitude for the loved ones in our lives. The rhythm layers are excellent, and the lead guitar fits in elegantly. Like brushstrokes on an empty canvas, the notes flow with ease, engaging the listener in a relaxed, introspective state.

“So Unexpected” maintains the main purpose of this music, with subtle and tasteful improvisation on the guitar strings, while the bass holds its place firmly, providing a strong foundation for the other elements to stretch out and capture your imagination. Beautifully executed.

“Homecoming” has a positive connotation, and here the mandolin returns to add a distinct flavor that only this instrument can offer. At 2:45, one of the shorter tracks accomplishes everything it needs within that time frame. Stringed instruments can be soft and inviting yet burn with passion regardless of volume.

“Finish Line” has a clear country timbre, with the violin playing its part and the guitar and mandolin exchanging pleasantries. The track moves briskly while still inviting relaxation. The gentle touch is the hallmark of this music, and that is what anyone who appreciates good instrumental music will recognize.

“Labyrinth Sun” is a lovely acoustic guitar instrumental that brings total focus to that one instrument and the artist’s complete command of it. This is the epitome of folk acoustic heaven.

“Guitar Dance” completes this instrumental cruise across the strings. At 2:16, its brevity offers one last glimpse of how impactful an instrument can be, regardless of how long it is played. The composition is compact and serves as an effective way to close things out.

Water Stones showcases Lynn Patrick’s diverse picking style on acoustic guitar and her ability to punctuate strong, resonant leads between and over the rhythms. I seldom get the opportunity to hear guitar instrumentals like this, and I enjoyed each track greatly.

Credits:

Lynn Patrick – Guitars, Producer, Recording & Editing

Dave Beegle – Lead Guitar, Mixing

Silas Herman – Mandolin

Eric Thorin – Upright & Electric Bass

Sandra Wong – Violin

Enion Pelton – Guest Violin

Christian Teele – Percussion

Tracks:

01. Surfing Lu Lu [3:03]

02. Made Your Escape [2:49]

03. When You Find What You’re Looking For [3:19]

04. Breezy Sassafras [3:54]

05. Unknown Changes [3:37]

06. Water Stones [2:55]

07. Love Is Here [4:14]

08. So Unexpected [4:09]

09. Homecoming [2:45]

10. Finish Line [3:28]

11. Labyrinth Sun [3:01]

12. Guitar Dance [2:16]

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 7, 2026

New Age Meditation Track Feature And Interview: Ilka DeGast-Wishing Song

Ilka DeGast is known for her work in sound healing through her music, vocals, and instruction in Qigong and meditation.

The “Wishing Song” was especially made for children all over the world. The music provided supports early development by nurturing childhood innocence when it matters most.  

Along with a strummed acoustic guitar, Ilka’s angelic vocals serve as a guidepost, along with her simple instructions at the beginning of the track.

The sound of the life-giving water is present and strong throughout the recording, and it ends with the drum emulating a heartbeat.

While “Wishing Song” is meant for children, adults can find comfort and healing with all the sounds as well. Hearing Ilka say “You are loved” would reassure and remind us that this is a true statement to carry with us throughout our daily lives.

Ilka DeGast is a messenger sent to humanity, and she has several ways of delivering it. Her many talents are encapsulated within this one track.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 9, 2026

https://globalsacredsounds.com/

Ilka de Gast, originally from the Netherlands, now living in CA, is a psychologist, Qigong and meditation instructor, sound healer, researcher, and singer-songwriter. Ilka leads Sacred Sound tours and retreats internationally.

While Ilka has explored many meaningful career paths, her true passion for the past 25 years has been to work with and teach sacred sound healing modalities from around the world, including the ancient art of overtone singing.

 

 

New Age Notes Magazine - January 2026

The latest copy of New Age Notes Magazine is now available for download!

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

REVIEWS, INTERVIEWS, AND ARTICLES COVERING ARTISTS FROM ALL OVER THE WORLD.

New Age Instrumental Meditation Review and Interview: Allan Susoeff, Jr. (Extasis)-The Solfeggio Experience

Release Date: November 12, 2025

Label: Independent

Website

The Solfeggio Experience is a journey through the 7-chakra system, written and performed by Allan Susoeff, Jr. (Extasis).

The goal is to bring balance to the body’s energy centers through music and specific frequencies for each chakra.

For those who may be inexperienced with the chakra, it is a meditation aid, a psychic or psychospiritual energy center in the subtle body, as visualized in a variety of Hindu and Buddhist tantric yoga and meditation practices.

To advance and explore that knowledge, you can explore Solfeggio frequencies. They are specific sound tones believed to promote healing and well-being, ranging from 174 Hz to 963 Hz. These frequencies are thought to have positive effects on mental, emotional, and physical health by generating vibrations that help achieve relaxation and balance.

Accepted Solfeggio frequencies for each chakra were used for this recording, as well as the corresponding binaural beats, and each track was written in the key signature of that chakra’s note and chord. Each song is designed to help you relax and support meditation, breathwork, sleep, or other somatic practices.

The music and frequencies on this recording are specific to each energy point in the chakra. Anyone serious about healing and general well-being should consider exploring this collection of tracks.

Ambient sounds from synths and piano populate the tracks, creating a perfect balance of music and frequencies that will soothe your inner core and radiate through your consciousness. Spiritual uplifting is something anyone could use, especially now, with all the stresses we face daily.

The release points of energy in our bodies can either be advantageous or detrimental to our overall health. What I found by going from track to track was a clear difference, as outlined in the presentation for this project.

The changes in frequency and sound are so specific, and it’s essential to keep that in mind, depending on what you want to focus on or if you’re going to experience it in its entirety, which would last forty-four minutes and fourteen seconds. Either way, it can be broken down into a different track every day, or into a complete recording for deep meditation or general relaxation. Either choice will be beneficial.

A good example of the transitory nature of this recording is the notable shift from the opening track, “Root,” to “Sacral.” I heard tones from a sitar and the constant tapping of the cymbals. This can serve as an additional focus point, alongside the continuous drone or synth layer present in every track. I think this is a significant point that shows the artistry involved and the creative process. It also allows the person listening to choose which tone, frequency, or music to follow in the process.

Although the emphasis is on frequencies throughout, the music added to the mix plays a strong role. You will hear diverse layers in this music. The movement and flow of energy is meant to emulate that within us all (our chakras).

Another terrific example of the artistry here is the “Throat” track, which is gorgeous, with its orchestral arrangements and gentle piano. Hearing it gave me chills—it felt extraordinary. It’s real, organic, and in the ether all at once.

If you enjoy ambient music filled with layers of synth or a soft acoustic piano, this is a divergent listening experience you want to reach for again. Take this recording and all its intrinsic and essential value and implement it into your daily life.

The Solfeggio Experience offers a multitude of audio pleasures you owe yourself the chance to explore.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

November 12, 2025

Tracks:

1. Root 396 Hz (6:27)  

2. Sacral 417 Hz (8:53)

3. Navel 528 Hz (4:30)

4. Heart 539 Hz (4:48)

5. Throat 741 Hz (4:59)

6. Third Eye 852 Hz (5:21)

7. Crown 936 Hz (4:48)

8. Peaceful Return (4:28)

World New Age Instrumental Review and Interview: Aco Takenaka-Ancient Seeds

Release Date: October 19, 2025

Label: Independent

Website

Aco Takenaka, a brilliant singer-songwriter from Tokyo, captivates audiences with her unique blend of alternative, ambient, folk, and New Age music. This combination of genres, deeply rooted in diverse cultural traditions, creates a world-new age sound that is both unique and culturally enriching. With her vivid, expressive voice, she draws listeners in, creating a profoundly personal musical experience that is rich in diverse cultural influences.

My journey with this artist began in August when I had the privilege of covering her first single from the recording “Oxum” on the recently released Ancient Seeds. This experience left a profound impact on me, and I am excited to share it with you.

Aco’s vocal range is superb for these tracks and their meaning. Her sense of rhythm and tempo feels connected to esoteric things. The inflection of her vocals during these tracks sounds like a combination of Japanese and American Indian; it’s exciting.

“Ame Kuni” leads off, accentuating her incredible vocalizations backed with harmonizations of her own voice. As instruments enter the mix, it gets more layered and prolific. Tribal drums sound off, and a synth is added intermittently as she repeats the phrase, serving as a fixed point of concentration for relaxation, introspection, or a gradual meditative state. Ame-no-Minakanushi is a deity in Japanese mythology, portrayed in the Kojiki and the Nihon Shoki as one of the first deities to manifest when heaven and Earth came into existence.

“Tate Yorinaka” conveys, through its repetition, the feeling that you are one with Mother Earth herself.

Tate Yurianaka, Tate Yurianaka,

Camu Ne Iyari, Camu Ne Iyari,

Tate Yurianaka!

(Possible translation: “Mother Earth, I offer my Heart” — or “Here, You have my heart.”)

As you hear the inflections from an ancient time, they begin to take hold and gain more significance once the repetitive phrasing ends and a flute enters the mix. Then the music subsides, the phrasing returns, and, for a short time, the music is added to the significance, meaning, and purpose.

 “Wani Wachi Elo” (“Wani wachiyélo”) is a Huichol song that connects with the Great Spirit — a sacred chant to unite with the Divine Source of Life and Wisdom. The native flute is a perfect companion to this ancient phrase.

Wani Wachi Elo, Wani Wachi Elo,

Wakan Ka Taya, Wakan Ka Taya

(Possible translation: “Oh Great Spirit, I want to live.”)

“Oxum”, also known as Oshun, is a goddess in Yoruba religion associated with fresh water, love, fertility, beauty, and sensuality. Her name means “Sweet Water,” and she is revered for her nurturing qualities and connection to femininity. You will hear the water in this track to enhance one of the meanings. It captured my imagination when I first heard it.

Listening again did not change that feeling; it was a reminder of how different this is for me to hear music and vocals sung so beautifully in a genre where it is usually instrumental. It moved me even though I could not understand the language; I found out what it meant, listened, and found more meaning.  

“Iyalawa” is another one sung to Mother Earth, in Yoruba. It helps us embrace the profound warmth and nurturing essence of the Great Mother — the abundant source of all life.

“O Mama Bakudala” is a South African song that translates to "The mothers from way back used to pray." It is often sung to honor ancestors and invoke spiritual presence during gatherings. And right at the beginning, it sounds like it originates there, in Africa. The vocalizations and rhythmic drums are spot on.

“Om Mani Padme Hum” is a six-syllable mantra in Buddhism that translates roughly to “praise to the jewel in the lotus.” It symbolizes the union of method (compassion) and wisdom, essential for achieving enlightenment.

As we traverse the world in search of various spiritual meanings and practices, the angelic voice carries the message home. She repeats the mantra, the bell rings, symbolizing the clarity and purity of the Buddha’s teachings and helping focus the mind and create a peaceful atmosphere for meditation. The sound also serves as a reminder of the impermanence of all things, encouraging mindfulness in practice. This is absolute and beautiful perfection with no attachments to weigh you down; your freedom awaits.

“Ramadasa” is a powerful mantra that has many benefits. It can help to increase positive vibrations, release negative emotions, balance the mind, body, and soul, eliminate negative karmas, and awaken Kundalini energy.

A soft acoustic guitar accompanies Aco in this track, and the addition to her voice is an excellent choice. Her voice leads you down the path to enlightenment as it has in all the previous tracks. I enjoy it so much when she sings in the singular sense, then her other layer is added to make it sound like a choir of her own voice. It is so absorbing and exquisite.

“Lokah” is a Sanskrit word that translates to “universe,” “realm,” or “location,” and it refers to all beings or worlds existing within that space. It emphasizes the interconnectedness of all life and the shared experience of existence.

The music begins to go in a different direction here: there is a flute and what sounds like a sitar, then it changes enough to sound like a guitar at times. The layers of sound are fascinating, and Aco’s voice echoes with resonance and meaning once again—compelling change in sound and approach.

“Kukurihime Hime” no Kami, also Kukurihime no Mikoto, is a Japanese Shinto goddess venerated as Shirayama Hime at Shirayama Hime Shrine in Hakusan, Ishikawa Prefecture.

It starts with the resonating and echoing tribal drums as Aco begins her phrasing; it is magical and mesmerizing. If that is the intent here, it works wonderfully. The drums sound like the goddess’s steps as she moves closer, with additional sounds added. Sounding ancient, ritualistic, and something created in the heavens.

“Tohokami Emitame” (“To Ho Ka Mi”) has multiple meanings, which Aco shared with me.

Primarily, it refers to the ten deities who were present at the dawn of life — beings who dwell somewhere within every family lineage, representing enlightened ancestors or the divine source of life itself.

These eight syllables carry multiple layers of meaning. One aspect is the power to shatter all thoughts — to break sound itself into its finest particles, purifying even the meanings within. In doing so, they cleanse the personal mind, the inherited mind, and the habitual patterns of the

human mind, returning everything to the light of the very beginning. They also purify the entire lineage of one’s physical ancestors, allowing us to receive their protection and blessings. Reaching back to ancient times — from the origin of life to this very moment — they cleanse and bless the whole ancestral line.

And this invocation brings forth blessings beyond comprehension, across all dimensions, for those who open themselves to receive.

As your spiritual journey ends, you begin a new chapter transformed in mind, body, and spirit.  Yes, it can be that prolific if you take a moment to understand the meaning of each track. Aco Takenaka’s voice is the most potent instrument on Ancient Seeds. Everything else is a musical coloring that completes and ties together the divergent compositions.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 28, 2025

Tracks:

01. Ame Kuni (04:08)

02. Tate Yorinaka (05:14)

03. Wani Wachi Elo (03:41)

04. Oxum (05:12)

05. Iyalawa (04:41)

06. O Mama Bakudala (03:32)

07. Om Mani Padme Hum (03:59)

08. Ramadasa (06:43)

09. Lokah (06:23)

10. Kukuri Hime (05:55)

11. Tohokami Emitame (04:31)

Contemporary Instrumental New Age (Classical) Review and Interview: Joshua Zimmerman-Light Beyond the Shadow

Release Date: October 17, 2025

Label: Independent

Website

In June, I heard Joshua Zimmerman’s "Finding Peace" and had the opportunity to interview him in July, as well as again this month. Now we have Light Beyond the Shadow.

Zimmerman, a classically trained pianist, draws inspiration from his spiritual journey and his love for nature to create his music. Already, another release is ready to go with Light Beyond the Shadow. He presents instrumental solo piano music for his current fanbase and potential listeners.

The elegant and eye-popping cover art of Light Beyond the Shadow surely grabs your attention right away!

As I recall, Joshua’s music his very relaxing, coming from a spiritual place of the artist, and knowing that I would anticipate another healing experience through the music. This is a contemporary new age instrumental with a strong influence from the realm of classical music.

“What’s Meant to Stay” begins your listening experience with lovely notes flowing out of the acoustic piano. The melody carries through splendidly, allowing the transitions to be smooth and natural as the tempo changes. It felt like a modern classical lullaby at times when he focused on the more simplistic strokes of the keys—a beautiful way to start.

“Beneath the Surface” has a soft touch and a sweet, yet sad, ballad atmosphere. When you look or reach beneath the surface of anything, it can come as a surprise what you discover, particularly in the context of the human condition. Because music is so directly connected to us in this way, this composition’s tempo and melody capture the essence of a reflective, introspective individual.

The title track, “Light Beyond the Shadow,” is a beacon of hope and positive energy. Just as the cover art would convey.  Here we find the artist delving into an area that can be real as we desire (even though you cannot “see” it), whether in the mind or the space you are in this moment, there is always light to be found. The piano’s keys evoke a sense of warmth and positivity we all need, lifting the spirits of the listener.

“Whispers of Hope” continues the path of positivity and light. The music is more than a whisper; it hints at all our personal journeys that we hold dear to our hearts. With that, though, comes optimism and clarity, and the keys of the piano pronounce those thoughts. The tones and colors are clear and concise as each note resonates within your consciousness.

“Unseen Path” would indicate that what we cannot see physically has no bearing on where we can go or not go—relating to the previous tracks, I see how they are all connected in the tapestry of sound and emotion. The piano’s rhythm and innate melodicism pull you into the “path,” making it real and your own to follow. So elegant and beautiful, creating a sense of continuity and unity in the album.

This music is meant to make you feel “Made New.”  As you intently listen to the oneness of the solo piano and how the sounds embrace you, the feeling, every time, feels new. It sounds like the piano is singing to you alone, without a human voice to accompany it; it demonstrates that it has its own unique voice, with its own distinct sounds. The person manipulating the keys has every intention of bringing you into the story. The consistent flow and melodies capture you.

“Everything in Time” would suggest that patience will bring us what we desire in life. However, you must seek it for it to know when to come. Time is irrelevant when it comes to music. To my ears, it’s immortal and ready for me at my fingertips with one push of a button or a click of a mouse. The absolute beauty of the piano’s keys shines once again as the artist takes his internal compass to guide him to the place where gentle raindrops of melody and rhythm intersect. It sounds like a love song being played to everyone who will take the time to listen.

“Breathing Still” can have a few meanings. Breathing in stillness or still breathing is what you could discern. Breathe in motion or stillness, and you will create two entirely different scenarios. Without complicating the meaning, I think this is meant to encourage you to be still and listen, watching your breathing as it relates to your level of stress or lack thereof. This gorgeous music not only suggests it, but it also creates that thought and concept through the keys of the piano.

The piano is “Grace Without Words” on this recording. The track emulates this in so many ways, as does the entire album. The music actualizes emotions, visions, thoughts, a sense of warmth and belonging, all of that and more. This is the shortest track, at three minutes and five seconds; however, it conveys a great deal—another stroke of beauty and relaxation found through the music.

“From Here” we go to the end of this musical presentation. The piano’s instinctive resonant tones permeate your being every time with Joshua Zimmerman at the helm. There is a bright and rhythmic sense to this composition. The overall feeling of this entire recording seems to be encapsulated in this one track. I felt a sense of joy and lightness all around me as I listened.

Joshua Zimmerman is here to remind us that there is Light Beyond the Shadow.

On Light Beyond the Shadow, Joshua Zimmerman achieves a seemingly effortless blend of time and space through his compositions, which are filled with melody and smooth transitions that consistently convey the meaning of each track. It’s time to stop, listen, and enjoy the music of this talented individual.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 10, 2025

Tracks:

01. What’s Meant to Stay 3:38

02. Beneath the Surface 3:38

03. Light Beyond the Shadow 4:04

04. Whispers of Hope 3:51

05. Unseen Path 2:52

06. Made New 4:36

07. Everything in Time 4:11

08. Breathing Still 4:02

09. Grace Without Words 3:05

10. From Here 3:4

Contemporary New Age Instrumental Review and Interview: Robert Linton-Away into a Memory

Release Date:  October 17, 2025

Label: Independent

Website

Robert Linton plays finger-style nylon-string guitar on his latest album, Away into a Memory. The sound is a unique blend of ambient and instrumental music, with a focus on the delicate, intricate melodies of the guitar.

 

In addition, there are several other talents on the album, including Graham Cullen (cello), Premik Russell Tubbs (EWI- wind machine), Trevor Gordon Hall (guitar), Sara Milonovich (violin), Jennifer DeFrayne (clarinet), Jill Haley (English horn), and Jeff Haynes (percussion). 

 

The title track, “Away into a Memory,” marks the beginning of this musical journey. As the soft guitar lines (note the significance in sound with the nylon strings) open the track within a minute, other instruments are added to accompany and accentuate the beautiful notes coming off the guitar’s strings. The cello and EWI sing their own song to answer Robert’s notes, adding another layer of ambiance and texture. With 5:51 minutes, there is ample time to explore how each piece of the composition is built as the movements come together.

 

Based on this opening track, there is a lot to look forward to as you move through each composition. The additional instruments add significantly to the piece in terms of color and variety of instrumentation.

 

“Times of Gathering” continues the album’s theme of providing a calming and immersive experience. The track begins with a tempered approach and a leisurely tempo, like a gentle warm breeze flowing over you, creating a sense of comfort and relaxation. The guitars, with their soothing notes, take the lead on this track, further enhancing the calming and immersive experience.

 

“Reaching The Field’s Edge” creates a bit of anticipation to reflect the arrival at the place indicated. The guitar serves as a guiding post to the eventual destination, while the violin creates its own path and atmosphere, making the track complete. As they merge and accentuate each other’s playing, it becomes increasingly beautiful as it unfolds to a finality.

 

“Covering the Pathway” has a distinctive melodic sense, with the guitar as the primary instrument, and the cello is added almost immediately to create a drone-like sound. The clarinet is also introduced. As you think about the meaning of the track title, it feels like the cello is covering the path as the guitar glides over the top of it like it were a carpet, receiving the help it needs along the way. It is instrumental bliss as the story unfolds before you, igniting your senses and imagination. The guitar playing is very methodical, and it holds its place well within each composition.

 

“In the Quiet of the Trees” brings you closer to nature and our connection with it. The guitar leads the way in each track, and so it does once again here with purpose and a quietude to reflect the meaning of the song. This time, Jill Haley’s English Horn brings its elegance to the piece, evoking a sense of tranquility and beauty. It is the perfect instrument to accompany the acoustic guitar and make the song complete and gorgeous, like the trees that are in tribute here. As it ends, you feel you have just walked through a wooded area, feeling refreshed with a new meaning of nature to hold on to. It is the longest track at 7:31 and just enough time to allow each instrument its space to move and grow within the composition. This was my favorite track, as it took me on a journey of introspection and appreciation for the natural world.

 

“Aglow in the Windowpane” maintains the gentleness of strings that have been established in every track. The strength of that is shown in how there is nothing given up for fullness or melodicism. If anything, you discover that those factors are present and completed by the guitar and cello.

 

“Searching for Clovers” is the second-longest track at 7:03. As the plucking of the strings makes their entrance, the violin joins in. It brings a new flavor resonance to the overall sound. There is ample atmosphere here as it takes on more color and emotion with each additional layer. It has a definitive Celtic hue to it at times and, as such, brings your thoughts and feelings along with the soundscape to somewhere else besides the space you are currently in. You can now travel inside and with the music. That is powerful and impactful. The track follows the same path as “In the Quiet of the Trees” in terms of its length and constant shifting and building to maintain your interest until the final note.

 

“Shaping the Moment” is what good music can accomplish for an attentive listener. The guitar, cello, and violin begin this journey with drama and feeling. The cello instinctively possesses a timbre that creates a mood, with edges of sadness and deep thought. The guitar propels it along with all its grace and purpose, bringing it to a place of rest, just as it has in all the previous tracks. Just sit back, listen, and let it shape your moments for you.

 

“Flickering of Summer Light” completes the trilogy of more extended and more complex compositions, clocking in at 6:40. This appropriately concludes the journey of light, sound, auditory stimulation, color, and emotion. Every track title has a significant meaning, and the instruments do a phenomenal job in making each track come alive. The EWI and percussion add an ambiance and lightness to the guitar’s sound. As the guitar flickers, the other instruments are the light of summer, making for a perfect blend of sound.

 

This music will put everything Away into a Memory because of its impact and beauty. It is an easy path to walk through to the end.

Keith “MuzikMan” Hannaleck-NAMR Founder

October 17, 2025

Tracks:

1. Away Into A Memory (5:51) 

2. Times of Gathering (3:55) 

3. Reaching The Field’s Edge (5:34) 

4. Covering the Pathway (5:42) 

5. In the Quiet of the Trees (7:31) 

6. Aglow in the Windowpane (4:06) 

7. Searching for Clovers (7:03) 

8. Shaping the Moment (5:08) 

9. Flickering of Summer Light (6:40)

New Age Ambient Instrumental (Classical) Review and Interview: Alexander Sussman-Sonic Calm 2

Release Date: September 27, 2025

Label: Independent

Website

In May, I enjoyed Alexander Sussman’s Sonic Calm Part One. Now it’s time to check out Sonic Calm 2. I would anticipate the continuation of sounds; however, one never knows what they may discover while listening.

As “Hymn” begins, the spiritual essence of the music instantly envelops you, creating a sense of tranquility and peace. It’s a serene experience that begins the moment you hit play.

The layered effect of the synths in “Hymn” guides you on a journey of self-discovery, inviting you to fall into its graceful embrace. It’s a contemplative start that sets the tone for the entire album.

“Hygge” has more resonance and higher-end tones, with a fuller volume. There is a ding of a bell sound that comes in to remind you of its focus and ambient layers of auditory magnificence. The tempos are variable, creating something you want to hear until the end as you notice subtle nuances that are woven into the composition.

“Twilight” would indicate a connection to nature, something organic, a natural course of daily life.

The flow of the music, with its light tones and colors, helps you to envision what twilight looks like inside your mind while listening. I am being reminded of some of the great recording artists who created music like this, such as Vangelis and Tangerine Dream. That is indicative of this kind of composition and a complete compliment to the creator.

Now we move on to the next phase, where the sun sets and twilight gives way to night.

“Nocturne” takes you there gently. A tinkling piano is like a soft pillow to rest your head on as the synths do their work to embellish every note. By now, after reaching this fourth track, you should find yourself in a deep meditative state or gradually emerging from it. Of course, this is solely based on the time you allot for this practice. Similarly, this can be simple relaxation with no specific intent but that. Either choice is a good one, and this track enables you to be in the place you desire consciously.

“Reverie” is a state of being lost in thought or daydreaming, often characterized by a pleasant or imaginative train of thought. It can also refer to a dreamy or abstracted state of mind. The music captures that state of being in an inviting and pleasurable way. Keeping in mind, this is not music to excite you; it’s meant for focus, relaxation, contemplation, introspection, and allowing the jumble of cerebral activity to subside, thereby attaining a deeper level of consciousness.  This is lovely and so engaging in that way, and at the same time, it sounds like it could serve as a soundtrack to many multimedia platforms.

“Hypnagogi” is a strange word I have never encountered before. Hypnagogia is the transitional state of consciousness that occurs as you fall asleep, characterized by vivid sensory experiences, including hallucinations, sounds, and feelings of movement. This state can involve a mix of dream-like imagery and reality, often leading to phenomena like sleep paralysis or lucid dreaming.

As we progress through this listening experience and gain an understanding of the track titles, the concepts begin to take hold. This train of thought encompasses a comprehensive process. The music is the key that unlocks that door as you step into a new world allowed by the frequencies, sounds, and textures created by the synth layers and the adaptations of tempos in those layers.

“Introspection” is the primary focus here, referring to the process of turning inward to reflect on one’s thoughts and feelings.  The piano begins, melodically and purposefully, with wordless vocal sounds enhancing its timbre. As I listened, I could turn inward and travel outward beyond the confines of my physical space. This, to me, allows a healing to begin, and it’s threefold: spiritual, physical, and mental.

“Retreat” is a noteworthy term to consider. It is used in various contexts throughout the English language. However, in this instance, based on the music, this feels like taking stock of one’s frame of mind and shifting the reference point to pull back, allowing the healing frequencies of the composition to take hold.  The insertion of occasional wordless vocals or synths emulating them adds depth to the tracks in a spiritual, healing way. This is an excellent example of that approach within the composition’s structure.

The title track, “Sonic Calm,” aims to draw you into this musical journey from the very beginning. Here are the starting points of the closing track and the eventual end. Coming full circle musically, spiritually, and with purpose. As each track presented itself as a separate meditative experience, the length of this track, 7:16, brings it all full circle, combining the best of the composer’s abilities to maintain the ambient instrumental soundscapes. This music massages your being gently yet succinctly.

Sonic Calm 2, with its colorful, picturesque cover art, evokes a serene atmosphere as it soothes your mind, body, and soul through the sounds of Alexander Sussman. This is a place I would like to be 24/7, but that is not realistic. Alternatively, you can set aside a block of time during your day or evening to listen to these sounds. It is time well spent, and it will benefit you in ways you may not yet realize.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 6, 2025

 Tracks:

1. Hymn 4:34  

2. Hygge 4:14  

3. Twilight 5:06  

4. Nocturne 5:50

5. Reverie 5:12

6. Hypnagogia 4:16

7. Introspection 5:08   

8. Retreat 4:50

9. Sonic Calm 7:16

New Age-World Instrumental Review and Interview: Charu Suri - Shayan

Release Date:  August 22, 2025

Label: Independent

Website

Part 1: Review

Shayan is Charu Suri’s fourth proper release. I had the pleasure of covering The New American Songbook EP in 2019.

Shayan’s meaning, derived from the Sanskrit word for deep sleep or rest, perfectly encapsulates the pure beauty and complexities of this recording. It’s a journey that will transport you to places beyond this earth, a unique blend of new age, world, and classical elements that will leave you intrigued.

 

There is no track under 4 minutes, and the longest is 8 minutes and 44 seconds.

 

With Charu on piano and composition, and a diverse range of additional elements including violin, ukulele, guitar, harp, and vocals, the album promises an engaging and immersive listening experience. The Venezuelan Strings Recording Ensemble adds a unique touch, ensuring there’s always something new to discover in each composition.

 

The title track “Shayan” begins. The sound of a harp is ethereal and magical, as the piano keys add their ambiance and orchestral qualities. A wordless vocal is heard in the background, which is quite beautiful. The vocals come back as part of the ongoing composition. This piece is lovely and could serve as a meditation, thanks to its rich textures, atmospheric quality, and angelic, wordless vocals. Does this set the tone for the future? We shall see.

 

“Mohanam Hymn” brings the flute into the picture as the piano gently adds its soft notes, enhancing the flute’s dreamy layer. The violin arrives, then a chant begins. This is a hymn, and all the pieces that come together make it so. With over seven minutes of musical transitions and a tempo that sounds classical, it takes off from that foundation and morphs into a new-age world journey. It is a certainty at this point that not only can the music be used for relaxation and reflection, but also for meditation, inviting you to a calm and introspective state.

 

“Inner Peace” lives up to its name right away. It begins with a flute and gently introduced piano, and then a cello adds depth, accompanied by a violin. The flute carries a melody as the vocals arrive like a guided meditation. As the flute calls out, the other instruments respond with their own grace and eloquence, each tailored to its unique tone and timbre. It is an exercise in instruments and vocals arranged in different places to create the peace you seek and shall find within the music.

 

“Raga Jog” sounds like a sitar once it begins, and to say it’s a guitar wouldn’t be too far off base (because of effects, etc). This is Max ZT on dulcimer at work here. Then the deep cello arrives for the effect it can only provide. Its deep resonance is both moving and dramatic in comparison to other stringed instruments. As the piece builds, the cello becomes more prominent, but not aggressive in this context—a complex arrangement with a wide array of textures and sounds.

 

“Nightingale” starts quite differently from all the previous tracks in terms of style. This is an acoustic guitar and piano duet. It sounds slightly removed from the recording because of the change from a complex to a simpler composition. This does not detract from its beauty, though; it is lovely and serves the same purpose as all the other tracks.

 

“Raga Durga” continues with the inviting and dreamlike soundscapes. It’s designed to help you relax into the music and find spiritual renewal. The sounds you hear are the piano and flute demonstrating their exceptional beauty and hypnotic effect. Thus, the ability to encourage or help with meditation. Towards the end, a violin adds a small section.

 

“Shayan Reprise” brings the meaning of this project full circle, serving as a reminder of what the word “Shayan” means. The cello returns to lend its substantial essence to the piece, as the violin enters, sounding classical and orchestral. It’s very colorful and emotional. This is an excellent way to close out this recording, marked by such musical excellence and passion.

 

Shayan lives up to its title meaning in every way and then some. What you get is a comprehensive package featuring a multitude of instrumental excellence, spanning new age, world, and classical genres, and often all of these in one track. The length of the tracks is inconsequential if it is a consideration for a listener, given their ability to transition several times. There is so much to appreciate musically and symbolically.

Keith “MuzikMan” Hannaleck-NAMR Founder

September 19, 2025

Credits:

Charu Suri, piano/composer

Premik Russell Tubbs, flute

Anita Lerche, vocals

Jim Kimo West, guitar

Ravichandra Kulur, flute

Ron Korb, flute

Mary Dawood Catlin, vocals

Peter Sterling, Harp

Philip Vaiman, violin

Ramya Shankar, ukulele

Siyer, vocals

Raniero Palm, violin

Venezuela Strings Recording Ensemble

Tracks:

1. Shayan — (4:33)

2. Mohanam Hymn — (7:28)

3. Inner Peace — (6:38)

4. Raga Jog — (8:44)

5. Nightingale — (4:16)

6. Raga Durga — (4:49)

7. Shayan Reprise — (4:33)