Contemporary Instrumental New Age Review: Jennifer DeFrayne - Soul Love

 Release Date: June 26, 2026

Label: Palo Isle Music

Website

"Where Light, Emotion, and Elegant Melodies Converge"

Jennifer DeFrayne returns after an extended absence from recording with Soul Love, a piano-based contemporary classical, new-age-influenced instrumental. Her extraordinary talents at the keys, along with her transitions and complex rhythms, are among the many highlights of the album.

The album features performances by Grammy-winning and internationally recognized artists, including Charlie Bisharat, Eugene Friesen, Michael Manring, Jeff Haynes, Jill Haley, Premik Russell Tubbs, Sara Milonovich, and Fiona Joy Hawkins.

With a stellar lineup like that backing you, I can imagine it was so energizing to record her new project. I would anticipate an equally amazing listen to Soul Love. For me, as a listener, this is a welcome return after covering the 2017 release Sisu.

“Finding You” begins with gentle, flowing, rhythmic notes, accentuated by violin (Charlie Bisharat) and fiddle (Sara Milonovich). It sounds like a love song unfolding before your ears as your senses are aroused with the music. It easily pulls you in. The percussion (Jeff Haynes) and bass (Michael Manring) are also a strong addition. Jennifer’s solo piano music, with its classical foundation and elegance, keeps you enthralled until the last note is played.

“You and I” is a slow burner, with many piano transitions as the violin (Charlie Bisharat) maintains a strong partnership; the addition of the English Horn (Jill Haley) adds another layer, transforming it into a beautiful orchestral track.

“The Ways We Fall” features an electronic wind instrument (Premik Russell Tubbs) and the fiddle (Sara Milonovich). I have heard wind instruments many times before in recordings and really appreciate what they can add to a track. With the soft rhythm of the piano leading the way, the track unfolds like a flower in the morning, taking in the sun, so graceful and beautiful.

“Journey of Love” changes the pace with quicker touches upon the keys before any of the other instruments join in. The focus is intact, love, and its many meanings are beheld by everyone. The distinctiveness of a saxophone sound (Premik Russell Tubbs) adds another layer, while the piano is bright, colorful, and full of optimism.

“The Beauty Within” finds the keys coming in with rapid strokes, then moving into softer, more paced placements. Other instruments once again make their way into the mix, with the oboe (Jill Haley) and cello (Eugene Friesen), along with some wordless vocals from the incredible Fiona Joy Hawkins, giving it a heavenly touch. I found the piano exceptionally strong here, completely enveloping the ensemble into a single, in-sync musical entity.

“Soul Love,” being the title track, is placed just beyond the mid-point of the album. The importance of the title track cannot be understated. Its significance here lies in the impact of the words’ meanings and potential meanings for each listener. This one has a more worldly feel, with hints of Celtic influence in the violin’s sweet notes (Charlie Bisharat). The soul of the music emanates all around as the sounds fill your space. Some soft percussive elements (Jeff Haynes) also arrive, adding another touch of all-encompassing sound. I appreciate the divergence of this track, the step away from classical leanings into another area entirely of rhythm and space not previously explored, with entirely different textures. An epic story of true love.

“Sonoran Blue” moves along nicely, with measured piano notes, as the oboe (Jill Haley) adds its grace and color, joined by the cello (Eugene Friesen). Every additional instrument is the perfect addition to the piano. It always feels like a story being told from the start. And hearing it in full makes it easier to see in your mind’s eye.

“Playing in the Snow” needed to fit the implications of the words, and the piano can do that with the right hands guiding it. Jennifer, as she has throughout this recording, uses the keys to help you imagine the playfulness of those white flakes; whether you are looking through the lens of a child or an adult, the same feelings apply. I could not help but feel a touch of melancholy in those echoing notes flowing through my soul this time, as I reached back to the innocence of childhood and to when my children were small, playing in the snow. Music can be the most powerful time machine. As it happens, many times in these types of compositions, the piano and violin (Charlie Bisharat) make great partners.

“Abby’s Gift” is very rhythmic and flows like a river that knows where it is going. This is completely solo this time with no accompaniment. Jennifer truly owns her music, and this is an example of how that singular instrument can fill a room with sound like no other. Like a gorgeous lullaby, Abby’s gift is fully embraced.

“Caribbean Sunset” needed to be as picturesque as possible to envision a beautiful sunset. This time, the flute (Premik Russell Tubbs) resonates with tones like the waves the piano rides upon. Like the mother ship taking its final voyage of the day, with the sunset behind it, the magic of nature and music coalesces into perfect beauty. Melodic and engaging, with some brief wordless vocals once again (Fiona Joy Hawkins), the picture is painted in your mind and holds there.

“Memories of Them,” with its violin accompaniment (Charlie Bisharat), leans strongly toward the classical foundations of these compositions. The piano is tastefully rhythmic and poignant throughout. The answer and call of the two instruments are the divination of music itself, beautiful. This closes out the album with grace and ultimate beauty, the thread that has run through each track as it moves into the next. I got a chill as this played out, knowing I had just experienced something of deep meaning for the artist, conveyed to me most vividly and artistically.

With Soul Love, Jennifer DeFrayne makes a triumphant return to recorded music, delivering what is sure to be one of the year’s most significant instrumental releases. Listening to this album felt like welcoming back an old friend, each note wrapped around my heart, lingering warmly until the very end.

Keith “MuzikMan” Hannaleck-NAMR Founder

May 20, 2026

New Age Vocals Track Feature: The Song Gardeners-Belong

Listen Here

Watch the “Belong”Official Lyric Video

The Song Gardeners are Corrie Dunn and Mary Gospe. Their tracks have been flowing steadily since the beginning of last year. “Belong” is the latest offering for listeners to enjoy.

Each recording holds a spiritual and uplifting consciousness.

What I found unique about this talented duo is their sense of rhythm, fine musicianship, and vocals that elevate their words.

Belonging is something we all desire, and their message is about being a part of humanity. It’s also about the freedom to speak authentically, rather than simply saying what others want to hear. True belonging means being accepted for who you genuinely are, without having to meet conditions or conform to expectations.

The strumming acoustic guitar, keys, and the beautiful vocals will immediately engage your senses and your knowing of right and wrong. Some of the words will hit home like “I’m tired of feeling out of place.” None of us should ever feel that way; we all want the same thing: love and acceptance.

In an era fractured by division—where discord wreaks havoc upon countless lives, this simple plea for acceptance grows ever more urgent. Yet it is precisely through such words and music that a yearning audience finds solace, their souls hungry for this very message to resonate. Here, that truth arrives not with force, but with grace: delivered in the most beautiful and tender way imaginable.

Keith “MuzikMan” Hannaleck-NAMR Founder

January 23, 2026

The Song Gardeners are at the forefront of the New Age Pop genre, creating well-crafted contemporary #chill, #groove, and #pop songs with positive, empowering messages. The band was founded by singer/songwriters and multi-instrumentalists Corrie Dunn and Mary Gospe.

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New Age-Jazz -Contemporary Instrumental Review and Interview: Derek Wille-Weight of the Sky

 Release Date: January 5, 2026

Label: Independent

Website

Derek Wille, a masterful artist, seamlessly merges three musical genres into an enjoyable, cohesive sound, showcasing his exceptional talent throughout his recent release, Weight of the Sky.

The complexity of jazz, the spiritual and deeply relaxing effect of new age, and the tradition and foundation of classical come together for a significant contribution to the world of instrumental solo piano recordings.

“Eyes Across A Room” is full of new age and jazz tones. It begins with a recording of a lovely, soft melody. You are immediately disarmed and feel like you have found a safe place to be physically and spiritually. It is a good way to start things off, getting you into the right frame of mind to enjoy what is to come. Just under 3 minutes was perfect.

“The Weight Of The Sky” creates a perception of something more serious than the previous track. While the high notes are light and airy, the bass resonates with a heavier tone, holding its own, while the sky maintains its lighter aspects. As these two aspects merge, you find your own understanding of what the track title can mean for you. There is some terrific playing going on here, and I heard classical influences woven into the underlying jazz and new age principles.

As “Rhapsody In Shadow” begins, the carefully measured sound and tempo immediately highlight the romantic mood depicted.  There is no black and white; only the grey areas shine as the notes intermingle to create perfect beauty. The piano keys dance a waltz and ask you to join in their place in time.

“Doorway To The Sea” carries the waves of the sea with melody and precision throughout this composition. I heard strong classical tones coloring this piece with jazz along the fringes. Very nice with a good flow.

“Shadows On The Sidewalk” picks up the pace with a lighthearted melody. It was like being a child again, watching your shadow imitate all your movements. Do you remember doing that? This upbeat melody reminds you of those days. A jazz movement with the colors of youth brings memories flooding back instantly.

“Prelude To A Farewell” gives the time needed to prepare for the finality of saying goodbye. The joy of life and love injects positivity, helping optimism replace negativity or outright sadness. The tinkling of the high notes brings a smile to you inside and out. Melodies abound, light all around, as the resonating keys leave a lasting impression.

“The Years Between” is reflective, a space in time that deserves another look. All time is relevant in one’s life, but we tend to forget so much. As the fingers hit the piano keys, the energy is dispersed into the air, and the melody and trajectory of sound engage you. It was like a story unfolded, and the last notes closed the book.

“Reflections On A Quiet Night” has a title alone that is picturesque. The piano keys softly invite you in to embrace the night with a look back to reflect on the day, your life, or the love of all the sweet things we treasure. The keys roll along the artists’ fingers effortlessly. Dreamy sequences relax and easily bring on the reflective mood being suggested.

“Standing In The Storm” would suggest something prolific about one’s life or indicative of the actual weather. My thought is based on the emotional nature of music, so this would point to an event or time in an individual’s life. The piano has two parts: the lower bass, which paints a clear picture of something more serious, and the higher notes, which are clearer and uplifting. This, in turn, gives the listener an optimistic outlook within the “storm.” This is the power of music at work, offering a listener a choice.

“A Lifetime Ago” is a window into time once again. This piano-based music is diverse, taking a blank canvas and using the broad brush of notes to create a masterpiece. The time and space in a lifetime can be short or vast, depending on the subject matter. The piano’s keys are significantly high and low, taking the ebb and flow of emotions to different places. Drama captured in music, perfect.

Finding “The Way Back” could be easy or difficult. This is the double-sided coin of life and all its situations or life-changing events. Those who lose their way can always get back on their original course. The piano’s elegance is highlighted here, carving a path for those who need a little help. This is musical GPS, if you will, listen carefully so you can return to where you belong.

“Last Light Of The Evening” ushers in the dark of night, as the moon and the stars relight the atmosphere. Nature’s sprinkling of the heavens reminds us of our 24-hour cycle of life and offers wonders and beauty each time. The melody is happy and reminds me of the Charlie Brown holiday cartoons, with its easygoing, flowing jazz piano runs by Vince Guaraldi.

“The Space Between The Notes” is a significant title. It gives thought to what you can find or create in that brief space in time between all the notes coming from the fingers of this piano player. This track slowly unfolds, allowing each listener to reflect on its meaning.

“Night In Amber” closes out this fourteen-track foray into time and space, accompanied by some of the most beautiful solo piano music one could ask for. It is fitting that the tempo of this track features how this talented artist takes jazz, new age, and classical and melds them into standalone pieces of art. It is a gorgeous end to an altogether enjoyable journey of instrumental bliss.

Derek Wille’s Weight of the Sky gives every listener some space in time to relax, reflect, and move along with each story via the piano’s notes. The beauty and simplicity of instrumental music shine brightly with the absence of words, so one can really become part of the storyline. 

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 17, 2025

Tracks:

01. Eyes Across A Room 2:57

02. The Weight Of The Sky 4:33

03. Rhapsody In Shadow 3:54

04. Doorway To The Sea 3:29

05. Shadows On The Sidewalk 3:18

06. Prelude To A Farewell 3:35

07. The Years Between 3:25

08. Reflections On A Quiet Night 4:49

09. Standing In The Storm 4:45

10. A Lifetime Ago 3:48

11. The Way Back 2:59

12. Last Light Of The Evening 3:33

13. The Space Between The Notes 3:26

14. Night In Amber 3:05

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 Review: 2002 - The Wishing Well

 Release Date: January 16, 2026 

Label: A-Train Entertainment

Website

Venturing into my sixth listen from 2002, The Wishing Well, highlights its enduring appeal. Connecting with Pamela, Randy, and Sarah Copus through emails and interviews deepens my appreciation for their music’s emotional depth and musical qualities. I would encourage others to explore this album.

It is the key that always opens another door to another world, an alternate universe that invites you to feel calm, reflect, and relax. It’s always a welcome respite from the overstimulating world of media and news we are subject to these days.

“Overture: The Restless Heart” begins with orchestral textures and beautiful wordless vocalizations, then moves to an entrancing flute and acoustic guitar. The violin strings then enter the composition, creating another mesmerizing layer of sound to captivate you.

“Three Wishes” provides an acoustic piano introduction, then a layer of synths for that orchestral touch. The dreamy layered sequences always seem to find a place in their compositions; it’s where the stories are built from.  This is a beautiful lullaby to tuck away your day before drifting off into a deep sleep.

'Twilight' features gentle harp notes that softly reach out to your consciousness, inviting you to settle into a calming nighttime mood. The angelic melodies guide you into a relaxed, carefree state, washing away stress and hurried thoughts, making it an ideal track for unwinding.

“The Spiral of Heaven” is the perfect segue from the previous track. The piano tinkles as the synth layer calls out, sparking curiosity and wonder about the journey ahead. The flute enters with its magical tones, inviting you to feel as if you fell into a story unfolding, inspiring awe and fascination.

“Dream Chasers” is another logical progression in the sequence of these tracks. The uplifting sounds and wordless vocals disarm you immediately. The acoustic guitar lines resonate, pulling you in as the flute begins its call to your sense of wonder once again. The piano’s gentle notes further enhance the picture being painted in your mind. The upbeat tempo brings you joy and a smile that lingers. Melodic intersections of instruments combine for absolute beauty.

“Moon Lore” brings the magic of this music into the light once again. When you look at the track titles and think about it just for a moment, you are already on your way into the world being created before you. Lore and magic are what these compositions are all about, and this is another perfect example of how the Copus family pulls you into their stories and never lets go. The flute is key here.

“A Safe Harbor” for us all awaits in this wonderful music. That says it all in words and music. The instrumentation is superbly rendered, and the angelic vocalizations create a sense of warmth and reassurance, inviting you into a “safe” place filled with love and comfort, like a gentle embrace.

Another perfect segue is “On the Wings of Angels” as you get your wings and ascend into the heavens above. We all have our wings, and the ability to let go and let them spread is the key. The music will help you do that. A lovely bed of synth is laid down, with the flute and guitar adding their distinctive ambiance. The essence of simplicity and just being is captured and embraced here.

“Bellehaven” feels like a warm blanket covering me as the acoustic guitar and harp lead me into another time and place I gladly enter. As we get closer to when this magical book closes, you feel grateful for this musical divinity and how it makes you think, and this is yet another highlight of this recording.

“Savitri’s Dream” is the longest track at 4:01. It gives us all a little more to savor the excellence of this musical journey. The layers of piano, orchestrations, and synths merge for sheer beauty and solace, creating a space within your own space. The power and grandeur of the music of 2002 is nicely encapsulated in this curtain closer.

The Wishing Well is another masterpiece of new age instrumental recordings. If you enjoy instrumental music that can create an enhancing mood, this will be your one-way ticket to a trip you’ll want to take again. It awaits your beckoned call. Push play.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

December 11, 2025

Tracks:

01. Overture: The Restless Heart (4:37) 

02. Three Wishes (3:35) 

03. Twilight (3:17) 

04. The Spiral of Heaven (3:50) 

05. Dream Chasers (3:56) 

06. Moon Lore (3:40) 

07. A Safe Harbor (3:53) 

08. On the Wings of Angels (4:01) 

09. Bellehaven (3:10) 

10. Savitri’s Dream (4:01)

Instrumental New Age Meditation Track Feature: Allan Susoeff, Jr. (Exastis) -Throat 741 Hz

Allan Susoeff, Jr.'s "Throat 741 Hz" is a musical composition crafted to resonate at the frequency traditionally linked to the throat chakra.  It begins with a bell sound. The tinkling of wind chimes then opens a door as the synth layer begins, and a soft acoustic piano enters the mix.

As all these sounds gather, as a rich orchestral sound emanates from the synths. The composition comes together rather quickly. Each tone, vibration, and color reaches an apex of sound.

The sounds of a wordless choir vocals begin, adding a profound sense of heaven and spirituality, connecting you to the music in a way that uplifts and energizes.  Even as your energy level changes, the sounds provide a source of total relaxation and meditation.

You have found your voice inside the music, and the points of energy are amplified, empowering you and engaging you in the experience.

Throat 741 Hz:

Vishuddha, the throat chakra, is the fifth chakra. The throat chakra is our “voice” and establishes a strong connection to both verbal and body language. It acts as a gateway to expression, communication, and authenticity.  When we can express ourselves freely, think creatively, and communicate without fear, that is our throat chakra functioning correctly. The throat chakra notes and chord are G Major, and the Solfeggio frequency is 741 Hz.

Instrumentation: Piano, violin, viola, cello, contrabass, synths, pads and strings, singing bowls, timpani, cymbals, chimes

Keith “MuzikMan” Hannaleck-NAMR Review Founder

December 10, 2025

 https://allansusoeff.com

Just two short weeks after the release of his first album, Extasis, in 2019, Allan experienced another quantum leap in life: a heart attack. He emerged from his double bypass surgery with a newfound appreciation for music. The intricacies of instrumental collaborations alone gave Allan new meaning in the art of creating music. Since then, his focus has been solely on instrumental music that is not only ambient but also uplifting and positively empowering.

Instrumental New Age Meditation Track Feature: Allan Susoeff, Jr. (Exastis) -Third Eye: 852 Hz

Allan Susoeff, Jr.’s “Third Eye: 852 Hz” focuses on your perception center. I like to refer to it as the all-knowing voice inside, heightening your self-awareness and allowing you to receive information. Like the aperture of a camera with one sound, the seeing eye is wide open.

As the bell rings, the chimes tingle, the singing bowls echo with a resonant tone, and the acoustic piano begins its sojourn over the softness and flexibility of the synth’s colors.

The orchestrations resemble a choir, with a brief, faint birdsong sound in the background.  As the compositions gather momentum, you feel an energy and strength that gives you the secondary sight —the only thing you can envision.

The realizations of the chakra are in full bloom with this 852Hz frequency. This is five minutes and twenty-one seconds of pure audio bliss, ending as it began, with the bell as its focal point.

Third Eye: 852 Hz:

The third-eye chakra, or Ajna chakra, is the sixth of the seven primary chakras in the body. It is our “perception center,” and is believed to be the seat of the soul and the gateway to higher consciousness. The sixth chakra is also associated with light, clarity, understanding, and spiritual insight. It is typically the focal point of concentration during asana and meditation practices. The Solfeggio Frequency of the 3^rd eye chakra is 852 Hz, and the key signature and chord is A Major.

Instrumentation: Piano, Rhodes 88 electric Piano, flute, oboe, synths, pads and strings, singing bowls, chimes

Keith “MuzikMan” Hannaleck-NAMR Review Founder

December 3, 2025

 https://allansusoeff.com

Just two short weeks after the release of his first album, Extasis, in 2019, Allan experienced another quantum leap in life: a heart attack. He emerged from his double bypass surgery with a newfound appreciation for music. The intricacies of instrumental collaborations alone gave Allan new meaning in the art of creating music. Since then, his focus has been solely on instrumental music that is not only ambient but also uplifting and positively empowering.

Instrumental New Age Meditation Track Feature: Allan Susoeff, Jr. (Exastis)-Crown: 936 Hz

Allan Susoeff, Jr.’s “Crown” begins with the traditional bell sound to start his meditation experience for the chakras.

Ethereal sounds swirl around, created by various synths. His gorgeous piano sounds are in sync with the flow and energy generated by the 936Hz frequency, a frequency believed to stimulate the pineal gland, which is associated with spiritual awakening and enhanced intuition.

The synths create a spark, sounding like they are taking off into the ether as your mind rests, and your body and spirit accept the path now being taken.

The orchestral sounds of the choir reemerge in this track, creating a beautiful backing as Allan pushes the tempo upward towards heaven and back down to earth. These sounds, reminiscent of a celestial choir, add a transcendent quality to the meditation, enhancing its calming and healing effects.

“Crown” is not just a piece of music; it’s a journey. It’s where we engage with our surroundings and with life, whether it’s nature or another human being. Everything starts in our heads, and from there, depending on the process, our bodies react. The sounds soothe and invite another session of focused energy and healing, making us feel connected and engaged.

Crown: 936 Hz:

The crown chakra is the seventh energy center in the body. Its Sanskrit name is Sahasrara, which means “thousands.”  It gets its name from the lotus flower with a thousand petals. Each petal represents a different aspect of our being, including all our emotions, thoughts, and actions.  It has the Solfeggio frequency of 936 Hz and is played in the key of B Major.

Instrumentation: Piano, harp, synths, pads and strings, singing bowls, timpani, cymbals, chimes

Keith “MuzikMan” Hannaleck-NAMR Review Founder

November 26, 2025

 https://allansusoeff.com

Just two short weeks after the release of his first album, Extasis, in 2019, Allan experienced another quantum leap in life: a heart attack. He emerged from his double bypass surgery with a newfound appreciation for music. The intricacies of instrumental collaborations alone gave Allan new meaning in the art of creating music. Since then, his focus has been solely on instrumental music that is not only ambient but also uplifting and positively empowering.

 

Instrumental New Age Meditation Track Feature: Allan Susoeff, Jr. (Exastis) - Peaceful Return

Allan Susoeff, Jr.’s “Peaceful Return” serves a specific purpose in his meditation exercise. This track is designed to guide the individual who has been using the music and frequencies to open and heal the chakras into a gentle, gradual awakening state, providing a clear and informative transition.

Notably, the beginning is absent of the bell chiming, indicative of a starting point for meditation. The piano begins as other instrumentation is added quickly, including the pan flute, oboe, English horn, clarinet, 1st & 2nd violins, viola, cello, contrabass, synths, pads, and strings. This is in addition to the singing bowl that you have become accustomed to hearing in previous tracks, which have been instrumental in guiding you through the meditation process.

The tempo is quite different in this track as well; it has a more rhythmic base and stronger orchestral movements, which are meant to engage you. These elements are specifically designed to energize the listener and guide them back to the waking state of consciousness.

It is indeed a “Peaceful Return” to consciousness and a most beautiful and healing way to do so.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

November 18, 2025 

 

Peaceful  Return Artist Notes:

Often, a “wake-up” song at the end of meditation is used to gently transition our mind from a state of deep relaxation or focus back to the usual waking state. Its purpose is to help avoid startling your brain, making the transition smoother, and ultimately to reinforce any positive feelings or insights gained from the meditation.  This song is almost entirely orchestral and is explicitly composed to nurture feelings of inner peace and contentment, combining that with the incredible magnificence of our innate human right to claim.

Instrumentation: Piano, pan flute, oboe, English horn, clarinet, 1st & 2nd violins, viola, cello, contrabass, synths, pads and strings, singing bowls, timpani, cymbals, orchestral chimes, crotales, bar chimes.

https://allansusoeff.com/

Just two short weeks after the release of his first album, Extasis, in 2019, Allan experienced another quantum leap in life: a heart attack. He emerged from his double bypass surgery with a newfound appreciation for music. The intricacies of instrumental collaborations alone brought new meaning to Allan in the art of creating music. Since then, his focus has been solely on instrumental music that is not only ambient but also uplifting and positively empowering.

 

 

 

 

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)