Ryuho Okawa’s ‘The Thunder” is an epic, rolling, soundscape – 8’15” of soaring composition in three parts, a gorgeous, haunting female vocal cutting in over the orchestral melodrama. It sounds, and I mean this in the most complimentary way possible, like the end credit music to a Michael Bay movie or, even more, a Hideo Kojima game, Metal Gear Solid or Death Stranding cut scenes rolling as the strings swell and the tympani crash. It’s that expansive and evocative.
It is a beautiful, well-crafted piece; a slow build of melancholy orchestration, deep long-drawn out ‘cello notes underlying pizzicato violin, and then three minutes in there’s a drop, the calm before the musical storm. That stunning vocal cuts in before a huge peal of orchestral thunder, a lift, and the drums rise to a militaristic tattoo, all snare rolls and marching beat, then the resolve at 5’30”, crescendo to key shift and then peace, the slow play out, the fierceness of the storm abating, tranquillity returning as the volume fades.
‘The Thunder’ is stunning; an absolute tempest of a track. You can hear it here, but be warned – you may need to take a moment after to catch your breath.
‘Angel‘ is the brand new release from the fast-rising Polyna and she certainly has our attention.
Polyna originally hails from a ‘dark town’ in Siberia which doesn’t appear on any map at all and is a Plutonium making town. She wasn’t going to let this stand in her way and embarked on an artistic career which eventually saw her go on to become one of the most successful performers in Moscow’s artistic community.
Polyna now lives in East London in the UK. She is currently preparing to release her debut album which is a collection of Arctic, frosted art-pop with emotional and sometimes dramatic intimacy. This is such a cinematic marvel to behold and you can see the talent dripping off the speakers. Her music could be called angel-pop as her music has that effect on your soul.
‘Angel‘ from Polyna is a terrific song and I get lost in her music. She is one artist to keep an eye on as you just know that she would be amazing live.
We were lucky enough to get a sneak peek of Welsh singer-songwriter Mared’s latest semi-orchestral single “Over Again”. It’s safe to say that the Neo-Classically inspired Pop score is one of the most refined yet striking singles which we’ve heard this year.
Mared’s poised yet passionate vocals resound over the light melodic flurries weaved by the piano-led choral instrumental arrangement. Repetition may have been the inspiration behind the track, but there was none to be found in the gently and seamlessly progressive soundscape. Prepare to be arrested by Mared’s narrative lyrics which allow you to share the fraught emotion which spills from being stuck in a toxic romantic cycle and unable to escape. I’m sure everyone can relate. Even if you can’t, if you have a shred of empathy in your body, prepare for it to be accordantly tugged.
You can check out Over Again for yourselves from June 19th on all major streaming platforms via this link.
When you are a multi-award-winning film composer, you have an innate knack for soundtracks. Michael Vignola performs a perfect blend of classical and ambient music in his latest release ‘Further and Further’, that feats violinist Francesca Dardani.
Gentle grand piano arpeggios are the main feature of the track, creating a genuine sound that emphasizes the overlaying violin melodies in an effort that combines classic with contemporary.
‘Further and Further’ is where your mind wanders when you listen to Michael Vignola, making it the perfect background music for the next big film release.
You can pre-save ‘Further and Further’ for yourself here.
If you’re looking for aural escapism (and let’s face it, in these insane times you probably are), look no further than the latest release “Daybreak” from composer, producer and artist Ben Alexander.
The stunning contemporary take on neo-classical piano soundscapes is peerlessly efficacious at arresting your own rhythmic pulses and making sure that each striking note hits with masterful accuracy.
I would give you spoilers and tell you what to expect from the momentous crescendo, but I wouldn’t want to ruin the surprise of what’s in store once Daybreak reaches its climax. And quite honestly, I’m in awe. While it doesn’t bode well for this review that I’m fairly speechless, it definitely bodes well for Ben Alexander’s captivating composition.
You can check out Ben Alexander’s single Daybreak which was released alongside the other single “Upeo” on a 2-track release via Spotify.
World Music trailblazer Nilambary released their debut album “Eternal Players” on February 10th, while each single as elegantly cinematic as the last, the standout single is undoubtedly “Sarvasva Tomar” for the celestial quiescent alchemy it contains.
Tentative piano keys introduce the softly ambient melodies in Sarvasva Tomar. But it isn’t all too long before the soft and sweeping notes are gently dominated by the nuanced, poised, and dynamically harmonic vocals which will keep you transfixed right up to the outro.
If you’re looking for a serene soundscape to slip into, look no further.
You’ll be able to check out Sarvasva Tomar along with the rest of the album for yourselves by heading over to YouTube or the artist’s official website.
Cinematic Industrial artist Levi Para has recently dropped their latest EP “House of the Unknown”. Whilst each track is a dystopian delight to behold, there’s no better introduction to their sound than “Rush”.
If you can imagine what it would sound like if Hanz Zimmer, David Lynch and Bernard Herrmann would sound like if they had an aural love child which they adored, you’d be able to almost get an idea of how chilling Levi Para’s sound is. It’s safe to say that until this release, Industrial Darkwave had never sounded quite this epic.
Complete with horror samples and sonic infusions which are sure to appease any fans of the early Doctor Who series’ Rush is one of the most tantalisingly horror-fuelled eclectic smorgasbords you can sink your teeth into.
You can check out Levi Para’s indulgently dark single Rush for yourselves by heading over to SoundCloud now.
Komraus is a live cinematic music trio group band that’s based in London. This music group has long been shunning out mind thrilling songs that capture the interest of their listening audience in most of their live shows and music exhibition. Clearly, you shouldn’t expect anything less than quality from this song.
Sara has an amazing vocal power that can easily make you remember the last time you felt so emotional. The mastered sound of the instruments in the music is quite soothing and well placed to create a distinct balance that shields the usual side sound reverberation that comes with this kind of music performance.
This song can subtly be described as those musical theme songs in a movie that can transfix you to a whole new level of the picturesque sound landscape.
How Giuseppe handled those acoustic and electronic drums in the beginning of the song is so intriguing and captivating. Miguel didn’t disappoint on his path as well, the impact of his synth and his piano magic was fully experienced once again in this song.
This is a powerful song with nice lyrics that speaks more on human feelings and desire for love.
Rarely do artist completely change the direction of sound – and do it as effortlessly as Nyro has done on, “Terror In Tacoma.” The lavish yet slightly monochromatic musical score dances around a colorful yet glassy piano and not much else (maybe some slight strings here and there), but it’s the whimsical simplicity that sets the undertone of mystery and anticipation. The musical score enters with a reoccurring motif that slowly blends within the score allowing the listener to relate to the sound on a narrative level. If you listen close enough, there’s a story unfolding right before your very eyes or ears rather and that’s the best part of this piece.
The veracity of the piano is a key factor when listening to this track, as it’s use employs a wide range of orchestrated sounds dancing from subtle almost Asian influenced patterns to playfully quaint tones yielding harmonious moments of both beauty and anticipation. Despite its beauty (or maybe because of it) one can’t help but be drawn in from beginning to end. This is a solid track, a refreshing glass of water in the somewhat cottonmouth sound we are slowing becoming accustomed to hearing more and more these days.
Of Love is a departure from the minimalist, synth-driven singles DYAN released in the summer of 2016 as they were releasing their debut album, Looking For Knives. With an introduction of warm woodwind chords, Of Love tells a story of a lover, once left, now leaving to find a way forward alone. As the song progresses, instruments creep into the song – guitars, violins, cellos, drums – building a sound to reflect the wide open world you get into when you leave heartache behind.
A trio with roots in Winnipeg, Cincinnati, and Los Angeles, DYAN builds songs out of minimalist synths, layers of atmospheric guitars, and driving rhythms. Alexis Marsh (singer/guitarist/bassist) and Sam Jones (guitarist/synths) co-produced Marsh’s songs between scoring film and television projects; Dan Dorff Jr (drums/synths) joined when the duo was mixing what became the group’s debut album, Looking For Knives. With the band in place, they began translating the music from the studio to the stage, playing their first show at Union Station as part of Live Nation’s Ones To Watch summer concert series in July 2016. Looking For Knives premiered on Billboard late-July 2016 and was preceded by singles “St. James”, “Days Upon Days”, and “Looking For Knives” – each one charting on HypeMachine.
The title track spent two weeks in the top 10 of Spotify’s Viral Chart (both USA & Global), helping push play-count to over 500,000 within a month of its release. Looking For Knives is available on vinyl at vinylmoon.co/dyan.