Contemporary New Age Instrumental (Classical) Review and Interview - Barry DeGroot - Unspoken Conversations

 

Release Date: October 10, 2025

Label: Independent

Website

After years of hearing this kind of music, my interpretation of it has changed into something I can express in words, but not to its fullest extent. You can only express so much with a word; however, feelings, emotions, or passing thoughts cannot always be put into proper context. I like to call it contemporary new age instrumental with a classic underpinning.

Barry DeGroot is one of those rare individuals who has captured everything I have expressed about instrumental piano music on his album Unspoken Conversations. The influence of classical music is more than apparent and a critical foundation from which every composition is born and reaches fruition.

Get ready to immerse yourself in the world of solo piano music, where each note conjures up a myriad of thoughts, images, colors, and memories. The piano’s notes are not just sounds; they are an entire orchestra within an orchestra, creating a rich listening experience.

 

“Serenity” is the perfect opening track as it moves along slowly, like a gentle stream of water bubbling up from a spring. Its notes float over your consciousness with seamless effort. It feels like the beginning of energy focused on total relaxation or a meditative state.

 

“Reminiscent” is such a prolific title. It holds a lifetime of memories. In one breath, you can say the word; however, there is an entire book to be written inside it. How can one instrument convey that kind of mindset or imagery? That is not an easy task, but Barry’s melody sufficiently captures the sentiment and the whole meaning.

 

“Clever Conversation” is a track that needs to be animated because of its implications. Conversing is what people do all over the world, and being clever is not something everyone can be. It is the longest track at 4:04 and rightly so. In the grand scheme of things, a conversation in under five minutes is short; however, in song, it goes into another category entirely. The piano’s melody and timing make it feel as if it’s speaking to you through the elegance of the musician and the sounds emanating from the keys. Hence, the meaning of the album itself!

 

“Somewhere” has a light-hearted, joyful feeling. You are neither here nor there; you are on your own somewhere where you exist in the moments of listening to this music. In between those places, it is tuneful and consistent, with abbreviated transitions alongside the main melody.

“While You’re Here,” listening to the Unspoken Conversations, there is a lot to be said via the piano’s keys. Thanks to Barry and his talented fingers, we can be reached this way. I heard a call to action in this piece even though its tempo was soft and slow, like a beautiful waltz of the fingers across the keyboard. The dance plays out in your mind’s eye.

 

“The Pendulum” swings back and forth, indicative of consistent change. That factor is present in this music. The shifting tempos add depth to the piano’s ambiance as the artist blends high and low notes, creating a sense of beauty like a ballerina dancing across the inside of your mind. She sways back and forth as the notes echo off each other.  

 

“All That Was” is now behind you in this listening experience. This will be musical expressions that you will not forget. This last track takes a slow walk and briefly picks up the pace to remind you of the power and movement of a single instrument. It is a fitting end to a marvelous exploration of the piano keys.

 

Barry DeGroot takes the singularity of the piano and broadens the scope of every note on Unspoken Conversations. This is a solo piano recording that you must hear to understand and appreciate what has been accomplished.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 27, 2025

Tracks:

1. Serenity (3:38)

2. Reminiscent (3:38)

3. Clever Conversation (4:04)

4. Somewhere (3:02)

5. While You’re Here (2:05)

6. The Pendulum (3:24)

7. All That Was (3:24)

 

New Age Contemporary Instrumental Review and Interview: Terry Lee Nichols-Love Is…

Release Date: July 3, 2025 

Label: Soundscape Productions

Website

Having had the privilege of covering several releases from Terry Lee Nichols over the years, I've come to appreciate the emotional depth of his compositions. His instrumental stories evoke a range of emotions, thoughts, and perceptions. His most recent release, Love Is…, is more than just a title; it's a journey of profound emotional exploration that unfolds as you delve into the tracks.

 

"Is This All Just a Dream? (Moon River Variations)" starts the album, and it's very atmospheric with beautiful vocals courtesy of Rebekah Eden. The piano and synth are gentle, yet their impact is significant. "Moon River," while a well-known track, can be profoundly moving emotionally, and being compassionate and emotional myself, made it difficult not to pause and reflect on some recent events that have affected my life and will continue to do so. I remember my father crying when he heard this song after my mother died; he was a WW2 veteran as well.

 

"Friendship" begins with an acoustic guitar, followed by the piano. It has a nice rhythm to it, and the percussion sets the pace. Bell sounds and other virtual effects have been added, which have a positive impact on the track.

     

"Lying Next to You" forms a lush soundscape as wordless vocals are added. Rebekah Eden sounds like an angel sent from heaven to soothe and ensure that the person next to you truly loves you.

 

"Morning Glory" and its orchestration, along with beautiful acoustic piano and an additional synth layer, create a spiritual experience that promises a new day. The wordless vocals add an ethereal element, evoking a sense of spiritual awakening or a glimpse into another world.

 

"I Remember Her Smile" is a look back at someone special in your life who may no longer be part of it, or one who already is. The memory is implanted into your consciousness forever. This is a love song, short and sweet with carefully placed notes from the piano and sweeping orchestrations to engage your consciousness.

 

"Finding Annie" has a flute accompanying the piano. This ongoing story of Love continues to build like a storybook romance set to music. It is one of the longer movements and features some rolling piano excursions; the foundation of classical music is evident throughout this piece.

 

"Trinity" starts with what sounds like the ruffling of feathers as a bird takes off. The piano continues to be the focus as the cello comes in (sounding sorrowful as it does a lot of the time), then the orchestration of the synths creates an additional layer of atmosphere. Rebecca joins once again, her wordless vocals sounding like she is performing a scene from an opera. And that was the finishing touch.

 

"Lullaby" sounds like something you might expect, given its tempo and melody. The tinkling sound of bells induces a sense of magical fairy dust in the air, lulling you into a relaxed state of consciousness. The piano is elegant and simply gorgeous, as the synth layer provides its orchestral elements.

 

"We've Had a Good Life" is a look back with gratitude for your life, one that is not only worth living but also sharing with loved ones, making it all complete. The tempo is perfect for those thoughts, and the piano and synth once again partner to formulate the ideal ambiance.

 

"Nella Fantasia" was not a song I was familiar with. John Riesen provides his tenor vocals to the mix. He sounds very commanding and owns the song, pouring every ounce of emotion and energy into it. The piano lays down the path, and he follows it. I do not appreciate opera; however, I can recognize pure talent when I hear it.

 

"The Winds of Time" is a fitting title and a perfect way to close these beautifully constructed compositions. Sometimes we don't have the time we want to be with the people we Love or do the things we've always wanted to do. As the winds blow through our short lives on this planet, the piano's keys remind us of its beauty and the opportunity to appreciate and have gratitude for all the things that enter our lives here, even though it may not be ideal, and there is suffering, the winds of time are still blowing.

 

Love Is…. It is a fine instrumental recording. I was deeply moved spiritually and emotionally, and that is all an artist could hope for. It's the entire purpose of making music like this.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

July 10, 2025

Tracks:

01, Is This All Just a Dream? (Moon River Variations) 3:54

02. Friendship 3:39

03. Lying Next to You 3:19

04. Morning Glory 3:15

05. I Remember Her Smile 2:45

06. Finding Annie 4:06

07. Trinity 4:40

08. Lullaby 3:00

09. We've Had a Good Life 2:55

10. Nella Fantasia 3:43

11. The Winds of Time 3:42 

Contemporary Instrumental-New Age Review and Interview: David Franklin-Music for Ketamine

Release Date:  June 20, 2025

Label: Independent

Website

Music for Ketamine is a collection of 13 songs, soundscapes, and a complete sonic journey designed for therapeutic ketamine sessions. Each track, with its unique blend of instruments and sounds, is a testament to the therapeutic potential of music. Created by David Franklin, this album is a memorable auditory trip that offers hope and healing to its listeners.

 

So, what is Ketamine? Ketamine is a medication that comes from a chemical called cyclohexanone. It's mainly used as an anesthetic to make people unconscious during surgeries, but it also has effects that can help with depression and pain relief. Ketamine can create feelings of hallucination, which means it can alter a person's perception of reality. There are two forms of Ketamine, known as S-ketamine and R-ketamine, and both can help treat depression in ways that go beyond just blocking a specific receptor in the brain. Essentially, it’s a versatile drug that can help with different medical issues, including anesthesia and mood disorders.

 

Armed with this knowledge, listening to Music for Ketamine should be enjoyable and self-healing, making it a compelling choice for those seeking therapeutic music.

 

“When Silence Learns to Speak” starts the journey and is the longest track, at 6:12. The piano begins methodically and softly before adding other elements that make up the track. The track sets up the potential listener with a soft bed of sound to fall into a completely relaxed state of consciousness.

 

“Mycelium Highway” is an interesting track title. Knowing what mycelium is will help. Mycelium is a root-like structure of a fungus consisting of a mass of branching, thread-like hyphae. It is the root system of the fungi. Its standard form is branched, slender, entangled, anastomosing, hyaline threads.

 

The track begins with chanting and a slow tempo that builds into a cool groove. Some constant percussion and synth sounds change the entire fabric of the track. It is an ambient meditative music that reminded me of artists like Tangerine Dream or Vangelis. Those comparisons should create enough curiosity to get you to listen.

 

“Everything and Nothing” immediately creates some thoughts—opposites in meaning, yet living in the same universe. Some people have everything and then lose everything; some start with nothing and then have everything. It depends on your own beliefs about what is essential in life. The track has a constant drone-like sound, however pleasant, to focus on, and then birds chirping are added. That combination is hypnotic; if that is the goal, it was accomplished. Swirling sounds like wind and water moving through the synths give it a spacey feel.

 

“Figure Painting” is finger painting taken to another level? Possibly, I suppose. Words can have dual meanings, and it just hit me as a take on finger painting. The piano sounds serious and focused, like an artist creating a painting on a blank canvas. The bass part is played with one hand as the other picks out the delicate patterns (figures) and rhythms (painting) that unite the song. You visualize this in the composition as the piano keys or the imaginary paintbrush create all the music.

 

“Sylver’s Theme” begins with a guitar and flute sound, completely departing from the previous tracks. Its beauty and ambiance immediately strike you. As one of the shorter tracks, it must make that kind of impact and hold you until it closes out. Then it does with the birds chirping, a nice touch.

 

“Carry Wood, Chop Water” segues from the previous track with the birds chirping. This eclectic music continues with the sound of a hand drum and bell tinkling. The inference of the track title is that simplicity and movement equal spirituality and connection. Piano shifts in and out and resonates with the other elements as it builds into a fuller sound. As it nears the end, the percussion strengthens, fades, the piano takes over, and the curtain closes.

 

Ironically, “The Longest Night” is one of the shorter tracks. The sounds differ significantly from what you heard previously, keeping you focused and expecting change. The synths weave in and out, echoing emotion and thoughts. Even though it is night, it is like watching a billowing cloud move across a clear blue sky, then suddenly ending. There is light in the darkness; you need to find it.

 

“FireCat” reaches back to the more synth-driven spacey sounds. The sounds created are like hundreds of crickets together, as the layers of synths provide the vehicle for them to carry their sounds further. Another track with over six minutes of music opens the door to many things. Then you hear frogs. The sounds of nature make that organic connection for you, keeping it real. A clock ticking sound brings us to the end.

 

“Silver Spirit Dancers” begins with a tribal rhythm on percussion and the flute. It calls out to you in a mesmerizing way. The spirit of the music brings out the dancers as they elegantly go in circles around the ceremonial fire. This is another shorter but impactful track.

 

“The Foggiest Idea” is the longest track at 6:30, giving ample space and time for layers of sounds to unfold. As the synth builds, so does the tempo, and there is the sound of a howling wolf. That is what I envisioned and was my first thought when I heard it. Maybe that was my own foggiest idea. The synths create a whooshing, calming sound. Many different sounds and textures populate this track. A significant change happens nearing the end as the electronic synth sounds start with chanting and percussion finish it.

 

I never expected a track named “Finger Painting.” I did not look at the track titles before listening, so it was a pleasant surprise as a follow-up to “Figure Painting.” Figuratively speaking, David’s finger painting is done using the keys he uses for all the sounds. It is 3:26 of perfect piano beauty.

 

“TheLongTale” is spelled that way for a purpose. To simplify, three shorter words are combined; the combination immediately becomes longer, merged into one. He tells the tale at a lower and softer tempo, giving the listener space for thought and reflection. The gentleness and eloquence of the keys bring you peace and enlightenment.

 

“Song for Living” closes the book on this story within the thirteen tracks. It begins with the chirping birds, a sound I know and love once Spring arrives after a long, cold winter. That makes the connection between going out of hibernation and going into a full wake-up mode (winter to spring).

 

Experiencing all the seasons brings more appreciation for the gifts of Mother Nature. David’s piano strokes are measured and beautifully placed. This part of the keyboard reminds you of its versatility as an instrument within an instrument. It sounds like a symphony for my ears, and tracks like this bring that to mind regardless of the tempo. It is a nice way to end this recording. And it ends appropriately with the birds singing their song.

 

Music for Ketamine takes the beauty of the keyboards and integrates it into a healing session of science and helpful chemicals, the suggested path, a process that many people need. That combination of tools is very effective. This is a soundtrack to that process.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

June 23, 2025

Tracks:

01. When Silence Learns to Speak (6:12)

02. Mycelium Highway (5:30)

03. Everything and Nothing (6:10)

04. Figure Painting (4:56)

05. Sylver’s Theme (2:25)

06. Carry Wood, Chop Water (5:41)

07. The Longest Night (2:49)

08. FireCat (6:10)

09. Silver Spirit Dancers (2:20)

10. The Foggiest Idea (6:30)

11. Finger Painting (3:26)

12. TheLongTale (6:15)

13. Song for Living (6:09)

Fiona Joy Hawkins Review and Interview: When Shadows Talk-Contemporary Instrumental-New Age

Label: Little Hartley Music

Main Link

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Fiona Joy Hawkins's latest recording, When Shadows Talk, is her eighteenth proper release.

The title, When Shadows Talk, reflects the album's theme, which explores the emotional depth and complexity of human experiences. As Fiona herself says, 'My greatest hope is that my music makes a difference.'

 

I had a detailed overview of what each track meant to the artist, but I decided to listen and respond to what I envisioned in the music. I like to stand by that thought process, as each of us who listens will have a blank canvas to create what the music inspires us to think, feel, and absorb.

 

As the piano began to play its lovely notes in 'Stasis', I was immediately moved by its beauty and intimacy. Fiona's playing is fluid and rhythmic, and I was drawn into the music's stillness, despite its inviting nature. The emotional stimulation and sense of stillness coexisting were a unique experience.

 

"The Ghosts of War Are Marching" seems like an ominous title, and I think this should feel "haunting" with echoing piano keys, which is precisely what it sounds like. The melancholy and realities of war set in and bring my thoughts to my father, who served in WW2. The emotional pain and depth of loss if you are involved in killing another human being must be insurmountable. We all have heard the term "hauntingly beautiful," which perfectly explains this composition.

 

"Lava and Snow" are opposites in temperature and textures, so I wondered how different this track would sound. It starts most beautifully like measured steps down a path to a destination. Gradually, the tempo picks up, and the rhythm and force of the music change, like the flow of lava from an active volcano. However, there is no explosion from the top; it is gradual and consistent, like how Fiona's fingers press the keys. This was like beauty in motion, developed in my mind's eye as the snow cools the molten hot lava, it hardens, and the notes are forever trapped inside you.

 

"Angel's Message" is the longest track at 5:20. It immediately gives recognition to classical influences as I know them. The title indicates one of spirituality and prolific communication to all listeners. I found it very interesting separating her hands on the keys. To me, that is one of the fascinating aspects of the piano and how one person can play two parts and make it one gorgeous symphony of sound. One woman, one piano, and the creation of resonating sounds of piano keys that draw you in, and permanently hit you all at once. I am astounded by her sense of rhythm and the incorporation of different tempos; it's the song within a song.

 

"The Lost Ballerina" is thought-provoking. Interestingly enough, I just went to see the new movie Ballerina last night; however, that is an entirely different setting and story. I heard an infinite sense of rhythm and purpose, with hints of sadness all around the edges of this thing of elegance, telling me the story. The playing is very purposeful, creating imagery from beginning to end. It's gorgeous.

 

"In the Deep" is short at 2:22. The melody emanates an unknown darkness. As the piano chords paint that picture, you feel like falling into it. It feels real, as images of the deep ocean come to mind.

 

"Outside the Circle" can create emotions and thoughts just by the title's implication. A circle is drawn to capture something; boundaries are there, and you may feel trapped and unable to break free. But outside the circle, you are "outside" looking in. You are free, but limitations are imposed because you are not "in" the circle. The piano weaves its tapestry of sound and light, giving more meaning to the track's words. The keys ebb and flow like a river of sound coursing through your soul. Its simple beauty defines the meaning of the words.

 

"Finding the Clearing" is an interesting choice of words after the last track. This would indicate another path, an alternative to any other that allows total and complete freedom. There are no lines in the sand here; you can roam and discover your truth and destiny. Once again, the piano's keys directly reflect that one thought that the title would indicate. It sounds like a waltz or lullaby to soothe those who need that kind of reassurance and calm to get into the clear.

 

"The Mirror" recalls looking into that glass. What do you see beside your image? Do you define yourself by what you see in front of you or what is inside you as a sentient and spiritual human being? The tempo is slow and defined, and meant for you to "reflect" on thoughts that immediately come to mind. Is the mirror inanimate, or are there other people you use for that reflection? Perception is indeed in the eyes of the beholder. I felt a realistic sadness to the track, although its beauty gave me hope.

 

"The Journey" is what you have been on, listening to all this piano-based music. The journey of life and all that enters it is what you are about. The music builds as does your life's journey. This is how the piano's keys speak to you and all your senses. Music can be transitional, and so is life. Fiona's playing is simply extraordinary on this track. The heart and emotion come through clearly.

 

"Hitting the Glass" suggested the term "hitting a glass ceiling" used in conjunction with corporations, where one stops in growth and opportunities, and incites you to begin looking elsewhere for those things. It's short and sweet, and the tone of the keys quickly conveys the message. It is the shortest track at 1:22.

 

"The Brown Bird" begins like a classical masterpiece, with emotion and energy like a bird in flight. Then, with a quick shift down in tempo, it suddenly lands. The music is short-lived, but the image is created with immediacy and stays true to the last note played.

 

When Shadows Talk is a prolific title with music to match. Fiona Joy Hawkins creates an instrumental piano masterwork with 12 thought-provoking, colorful tracks. Her artistry and deeply felt emotions bleed through the keys with a purpose and meaning beyond words.

 

The track titles evoke a thought, and your journey takes different paths as you move through the music. This is a must-listen for anyone who enjoys instrumental music, particularly piano-based music.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

June 12, 2025

Tracks:

01. Stasis (4:38)

02. The Ghosts of War Are Marching (3:07)

03. Lava and Snow (4:52)

04. Angel’s Message (5:20)

05. The Lost Ballerina (Solo Piano) (3:22) 

06. In the Deep (2:22)

07. Outside the Circle (4:41)

08. Finding the Clearing (3:09)

09. The Mirror (3:14)

10. The Journey (Solo Piano) (5:03)

11. Hitting the Glass (1.26)

12. The Brown Bird (2:30)

Contemporary Instrumental Review and Interview: Wayne Bethanis-Sonic Bloom

Release Date:  May 30, 2025

Label: King Tut

Website

Wayne Bethanis, a prodigy who earned his PhD in Music in his 20s, is a celebrated new-age artist with awards for his music. His most recent release, Sonic Bloom, is a captivating journey through diverse musical themes, each offering a unique listening experience.

Of course, the first thing that caught my attention was the cover artwork. The artwork is both eye-catching and thought-provoking. The fact that it's in black and white makes it striking, and you can see what is coming out of his head. That is the first doorway a musician must decide upon for their creation. The key is getting the potential listener to walk through it, and here I go…

 

“We Will Rise Once More” begins the journey softly, then launches into a cinematic melding of sound and color. The changes happen quickly, with some singing from a choir and a nice guitar line as the piano rolls gracefully and elegantly. It reverts to the softness of the beginning, then the building of the sound and voices once again, finally, a beautiful outro before moving on to the next track.

 

“Don't Look Back (The World is Changing).” And is it ever? As our globe spins, change is continual and unrelenting. The piano speaks volumes with its notes impressing your consciousness as you ponder the prolific statement the track title makes. The music flows out and in, like the ocean's changing tides. The piano emulates that with the changing tempos.

 

“You Know I Will Remember You (Room 112)” has a bittersweet sadness in the keys, pulling you right in. The synth orchestration adds more emotion and reflection on a time that has passed and will never return. Its beauty and gentleness can bring a tear to your eye.

 

“There is a Place Beyond the Heart” continues with the melancholy mood of the last track. Less than a minute later, there is a definitive change in tempo and mood. There is a confidence in the tone, like you just climbed one of those mountains in life and reached the top, and now you are looking down above the clouds with elation and joy. Wordless vocals and orchestrations make it cinematic and triumphant, as the melancholy has melted away.

 

“These are More than Memories” infuses you with more energy and hope. The melody is joyful and full of rhythm. Your feelings are instantaneous, and your mood swings into another frame of reference. The ladies begin singing like a choir of angels, beckoning you to join. The piano is superbly placed with elegant notes.

 

“Dream of the Golden West” is the longest track at 6:57. It begins with coyotes, the wind blowing, and a horse trotting back to the stable. This all feels like pure cinema. The piano starts to play, telling its story. As the sound of the synths and orchestrations arrives, it changes again into something new and exciting. More changes develop as the layers combine, as Wayne lets his piano dance over the top of the sounds. His playing is fast and furiously beautiful, as your interest never has a chance to wane for one second. It's like watching a movie with a continual change of scenes. It winds down as it started, then finishes with one more quick burst of energy.

 

“My Father Never Saw Paris” is a title that makes you think this may have some sadness and regret. The music tells the story again with hints of the music you may hear from that legendary city. The piano has a look back with the optimism of a chance at another life and another time. Reflection of memories haunts the keys with exceptional imagery and beauty, hoping that maybe wherever father is now, he can see Paris through this composition—a lovely tribute.

 

“Waltz of the Sirens” is a title evoking a different age, centuries ago, when life was much simpler. Its classical undertones and foundation lead the fingers of this piano player into a musical time machine of regality and elegance that we will likely never witness again in this world. The orchestrations and synths again make their magic, creating a heavenly layer of exquisiteness for the piano keys to find a home.

 

“Ten of Hearts” takes on a different atmosphere and upbeat approach. The sounds are light and happy, as the piano sets the tempo with quick rolling bursts. The additional sounds make it all sound like a huge step away from everything you heard prior. It has a jazz pop feel with a saxophone, giving you a taste of eclecticism from the artist and an unexpected delight.

 

“New Age Music Box” winds up and then goes in an entirely different direction. The beauty of the music transcends time, and the inanimate object becomes alive once again after you wind it up and let it play. It is like a lullaby of love from the piano to you. The sweetness and innocence of youth are heard in the piano keys as it winds down and ends with a flair of joy.

 

“St. Declan's Dulcimer Candy Corp” is quite the title and surely holds some meaning for the artist. The sounds are rhythmic, and they have a strong melody. This is the briefest track at 2:54. Even so, the airy atmosphere and tinkling keys steal your heart away once more.

 

“That's How We Say Goodbye” is the perfect way to end the recording with the title and music. There is always a mixture of happiness and sadness in goodbyes. Wayne’s piano speaks to this in the simplest yet significant way. The subtle background orchestrations allow the piano keys to resonate in all their pride and beauty. After hearing all this music, you know that the piano is the one instrument that can tell a story better than any other.

 

Wayne Bethanis' meticulous artistry and storytelling create a compelling listen on the appropriately titled Sonic Bloom. Like blooming flowers, the music resonates with deep emotions and fantastic beauty, inviting you to press play and embark on an emotional journey.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

June 6, 2025

Tracks:

01. We Will Rise Once More 03:49

02. Don't Look Back (The World is Changing) 03:12

03. You Know I Will Remember You (Room 112) 04:21

04. There is a Place Beyond the Heart 03:45

05. These are More than Memories 04:13

06. Dream of the Golden West 06:57

07. My Father Never Saw Paris 03:51

08. Waltz of the Sirens 03:21

09. Ten of Hearts 03:55

10. New Age Music Box 03:31

11. St. Declan's Dulcimer Candy Corp 02:54

12. That's How We Say Goodbye 03:51

Ambient Electronic Review and Interview: AeTopus-iota

Release Date: February 21, 2025

Label: Spotted Peccary

Website

Music Smartlink

AeTopus is the innovative music project of Bryan Tewell Hughes, a multi-media artist whose music is influenced as much by art, nature, and the human experience as it is by a singular idea or moment in his life. The moniker AeTopus suggests time (Ae), while "Topus" loosely means Place. A lifelong musician, Hughes began classical piano training at age 6, moving through musical immersions in heavy metal and punk, eventually drawn to join the sonic slipstream of ambient and electronic music. iota, the most recent release from AeTopus, is a 12-track ambient electronic journey.

 

The title iota (note in lowercase font) carries a significant meaning. It suggests a small yet crucial part of a larger whole, mirroring the intricate and nuanced nature of the music within.

 

Starting with “Museum,” each track promises a unique auditory journey. The spacey sounds, layered synths, and tempo changes create a captivating atmosphere stimulating the exploration of the senses and thought patterns.

 

“Why Not Now,” with its slower tempo, soft percussive tapping, and layered synths, offers a soothing experience. Its flow and feel make it a perfect companion for relaxation or meditation, inducing a sense of calm and tranquility.

 

"Mohhu" starts with a mysterious floating atmosphere and a bell-like sound, and a tick-tock click sets the tempo. Some of the sounds are different as the composition gathers momentum. With no track under 4 minutes, you begin to appreciate how AeTopus takes the time to develop each track and capture your interest and imagination by offering a constant state of evolution. This track is the perfect example of that model in action. Towards the end, there are some cool laser-like sounds that you would hear in sci-fi flicks.

 

"Finespun" is a high-energy piece with bubbling sounds echoing throughout and some whooshing sounds that suggest the music is alive and moving from one speaker to another. It has a very intriguing pace and interesting layering of the synths.

 

"Level" is the second most lengthy track, clocking in at 6:29. The track title made me think of a VU meter on a soundboard at a radio station I worked at as a cadet many moons ago. With all the time invested in the track, you are already thinking about what may be next for changes and textures. The steady underlying layer is rapid as the rest of the music being added ascends to the top of the audio range. This would be a perfect soundtrack for a documentary that wanted to showcase scenarios or shots in the process of changing, like the opening and closing of flowers or the changing tides of the oceans.

 

"Wave Hello" immediately recalled sound waves, and perhaps that is precisely what the artist is conveying here. He is saying hello through his music. The tone is light and airy, like a cordial greeting to the artistry of colors, sounds, textures, emotion, and whatever it recalls to each listener. Hello!

 

"Tell_us" is another track over 6 minutes in length, allowing the artist and listener to explore in their own time and space. The "spacey" sounds take precedence in many types of ambient music, and they do with all this music. As I was listening, I was asked, "Are you watching something," which indicates this type of music and the images it can create out of nothing. When you begin to listen, there is nothing you may be thinking about. However, that changes quickly. The feeling of taking steps and a percolating sound part way in prompts a string of thoughts to form.

 

"Subsystem" sounds technical in words alone; however, in music, it can mean many different things, mainly how this music is created. The other programs, computers, keyboards, and assorted electronic manipulating tools have their systems and subsystems. It sounded techy and robot-like at times, befitting the title.

 

"Probe" means to look around, give it a poke or two, and see what is there. As you listen to this music, you are probing all the soundscapes and discovering what is happening inside your mind. Some exciting sounds come to light, and as you listen, you picture different things, maybe a bird or a vast open space somewhere in your imagination as a synth sound flutters around like a happy butterfly.

 

"Accent" can be a prolific word. With this music, there are many ways there is an accent or accession of the sounds used to compile in one composition. I liked the percussive sounds emulating a drum and the way it gathers momentum intersecting all the elements, then stepping back with a softer piano and world sound with the percussive elements and echoing past sounds from a lost ancient tribe—one of my favorites.      

   

"Sunny" is the magnum opus of this recording, clocking in at 6:31. The title suggests light, warmth, or the significance of a day related to weather or perhaps one's attitude on any given day. The music asks, without words, what sunny means for you right now. It turned into my favorite track for a few reasons. The equipment and style reminded me of some 80s releases from my favorite artists. The sound is heavier than the rest of the tracks, like progressive ambient instrumental, taking the best of the past regarding the equipment sounds being used and the layering of all the synths, which is superb! Ultimately, it sounds like a train letting everyone know it's arriving as it closes out.

 

"Decima Milia," translated as "ten thousands"  or an iota? Perhaps when a note changes on the scale, it is in ten thousand of a second or minutes? I am stretching a guess here. The music is a cool breeze of mellow, trickling, moving, meltdown sounds.  I enjoyed it as I did the entire album. I thought the energy was perfect for capturing the overall feeling and atmosphere projected and achieved through the variables of tones, sounds, auditory perceptions, and, finally, the picturesque moments that all sounds coming together can create for you.

 

There is enough space for any listener to find another place to live physically and mentally inside this music. Know one thing: iota gives you small samples that turn into wholly constructed works of musical art. Listening to a creative artist like AeTopus can take you away for a short time. We all need that.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

February 27, 2025

Tracks:

01. Museum 4:40

02. Why Not Now 5:24

03. Mohhu 5:11

04. Finespun 4:14

05. Level 6:29

06. Wave Hello 4:31

07. Tell_us 6:22

08. Subsystem 4:19

09. Probe 5:29

10. Accent 4:32

11. Sunny 6:31

12. Decima Milia 4:31

Contemporary Instrumental Review & Interview: David Franklin-One Day in Spring

Release Date: June 7, 2024

Label: Independent

Website

When one thinks of spontaneity, several things may come to mind. I start by saying this because David Franklin recorded this album spontaneously in one sitting. That is an incredible achievement. So, One Day in Spring, David sat at his piano and created ten tracks related to one season of nature that gives life back after a cold winter.

 

"Just Before Dawn" starts softly, as one would expect in the quiet of the morning when the first rays of the sun start shining through. It's a serene and peaceful moment, beautifully captured in this track. The notes fall off the keys like morning dew, creating a sense of tranquility and peace.

 

"The Gloaming" takes you to the twilight or dusk of the day. We fast-forward in time, opposite the previous track but just as picturesque and meaningful. The softness of the keys gives you comfort as another day ends and you look forward to a new day, instilling a sense of reassurance and hope that is both comforting and optimistic.

 

"Birds Start Their Songs" takes you back to another day filled with the joyous sounds of our feathered friends. I love birds and their different songs. The keys take you on an intimate exploration of their sounds during the early morning hours and throughout the day. Birds are one of God's miracles, and I appreciate them. David continues the flow of musical expressionism with his delicate touch.

 

"Another Bird in the Garden" continues the story of birds in a different light. The piano remains relaxing and inviting; however, some changes bring a different color and energy this time. If you are a gardener, you hope the birds are eating those pesky insects invading your food as you picture that scene. It is an exquisite tune with an untypical rhythm of the previous tracks.

 

Initially, I thought that "Grieving the Dreamscape" as a track title was a step away from the concept of this album. That thought was put to rest rather quickly as David played the tune as beautifully as all the others. It is slower and, thus, very purposeful to reflect upon the meaning. I am unsure of the meaning, but it means something to the artist, and you will find meaning in it just as you did all the others.

 

"As Light of Mourning Finally Flows" is a play on words. Previously, you were grieving, and now you are mourning. Is this the stage you must go through emotionally to get to the other side? Whatever that may be, there is light, providing a positive direction for one to go. The piano serenades your thoughts, feelings, and emotions as they merge. You listen to those beautiful keys, which take you to the next stage. It's time to leave, and so…

 

"Night Has Left Us All" is the logical next step in the composition process. These compositions follow a thought pattern and a particular flow as the artist moves his fingers to express what is in his soul. There is a sadness overshadowing the night as it departs.

 

"Remembering George Winston" takes a few minutes to pay tribute to one of the greats on the piano. David's appreciation for George Winston's albums, particularly those named after the seasons on Windham Hill, was a significant inspiration for this album. His work was instrumental in shaping David's musical journey, and this track is a short and sweet remembrance of that influence.

 

"Caffeinated and Reconsidering Slime Molds" is quite the title, and it did lose me for meaning. That was unimportant once I started listening, even though he helped me with the rest of the tracks. This is music for those who truly can appreciate the piano as an orchestra in and of itself. David "gets caffeinated" with the music towards the song's end as it picks up considerably. It is a lovely piece and very rhythmic.

 

"Trees and Silence are Living Beings" is a great title and is so true. They are living beings with a vast underground network where they create habits for insects and other creatures and communicate with each other. So, as they may stand there silently, they are busy beneath the earth. This is the curtain closer to the recording and very appropriate. It has color, liveliness, purpose, and meaning as David takes the instrument through the paces to end this musical journey with elegance.

 

David Franklin's One Day in Spring is a beautiful group of compositions that is relaxing, meditative, and often energetic with the waves of chord changes and tones. Like the season it represents, it brings warmth and life to the piano's keys, and new thoughts and hopes to emerge from your consciousness; like the flowers and other plant life sprouting their leaves from the trees and ground, a new season begins. The music will touch you and leave an impression.

 

Keith “MuzikMan” Hannaleck-NAMR Founder

July 23, 2024

Tracks:

01. Just Before Dawn (3:23)

02. The Gloaming (3:24)

03. Birds Start Their Songs (3:20)

04. Another Bird in the Garden (4:30)

05. Grieving The Dreamscape (4:23)

06. As Light of Mourning Finally Flows (4:34)

07. Night Has Left Us All (2:32)

08. Remembering George Winston (2:51)

09. Caffeinated and Reconsidering Slime Molds (3:30)

10. Trees and Silence are Living Beings (2:34)