Browsing Tag

classical

The Arcane Insignia opened an unholy doorway with their synthesis of classical instrumentation and prog rock volution, Vagrant’s Throne

The Arcane Insignia’s moniker couldn’t be more fitting following the unveiling of their latest orchestrally aligned acoustic prog rock single, Vagrant’s Throne. The New York City duo set a new benchmark in the genre with this 8-minute epic, released as part of their LP, A Violent Whisper.

The dark iteration of classical music still maintains its elegance and opulence as it grapples with the complex signatures of progressive rock’s audacious spirit and the chameleonic vocals which seamlessly shift from the histrionics of New Model Army to the rage and rancour which transcends the furore of Pantera.

Formed by Lodrö Nyima, The Arcane Insignia consists of Noah Heau on cello and Nyima handling vocals, percussion, acoustic guitar, and piano. Their music, a unique amalgamation of influences ranging from Tool and Steven Wilson to The Contortionist, allows the classical instrumentation to venture into darker territories than it is typically accustomed to, creating a scintillating new domain where the ornate, cutting classical strings meet cathartic aural oblivion. This fusion also opens an unholy doorway to a realm where anything is plausible and everything is cinematically striking.

Following in the footsteps of bands like Ne Obliviscaris, Vagrant’s Throne, which unravels as a compelling exposition on classism, proves The Arcane Insignia’s commitment to breaking down antiquated barriers.

Stream the single on all major platforms via this link.

Review by Amelia Vandergast

Let your imagination breathe in the woodland lore in Supernova Goldfish’s composition, Mystic Forest

Few modern orchestral pieces resonate with the vivid imagery and emotional depth of Supernova Goldfish’sMystic Forest‘. This single, a masterful blend of neo-classical composition and ornate folk elements, invites listeners into a realm where material reality slips away and imagination breathes freely.

Alexis Walter Blaess, the Argentine-American composer behind Supernova Goldfish, draws inspiration from luminaries like George Winston and Olafur Arnalds. He has a unique ability to instil awe and wonder into his productions which find opulent balances between worldly and introspective qualities.

Mystic Forest unravels as a reflection of the composer’s respect for nature; it shifts from the serenity of a sun-dappled glade to the subtle trepidation of unknown paths while encapsulating facets of woodland lore. The interplay of light and dark, the dance of trepidation-tinged and playful tones, all coalesce into a cinematic score that engulfs the listener in aural fantasy.

The release is a reminder of the enchanting power of music to transport us to places unseen, to touch the intangible, and to reconnect us with the natural world’s mystique.

Mystic Forest was officially released on March 1st; stream the soundtrack on SoundCloud.

Review by Amelia Vandergast

Supernova Goldfish narrated ‘Forgotten Love Stories’ in his orchestral score

Supernova Goldfish’s latest standout composition, Forgotten Love Stories, the opening single from the album Beautiful World, is a poignant exploration of the soul’s emotional depths. Alexis Walter Blaess, the Argentine-American composer behind the Supernova Goldfish moniker used the delicately compelling piece to capture experiences of Earth; not solely through a humanist view, but a deeply naturalistic one, by removing any sense of ego from the narrative.

The piece begins with tender piano keys, their softness mirrored by the gentle caress of orchestral strings. This introduction sets a tone of introspection, inviting listeners into a world where emotions are heard and felt. As the narrative unfolds, the tempo quickens, echoing the exhilaration and loss of inhibition which comes as a courtesy of affection.

Blaess, drawing inspiration from pianists like George Winston and film composers such as Dustin O’Halloran, crafted an intimately affecting composition through heart-stirring violins and a contemporary orchestra with an exotic vibe, adding layers of complexity to the piece.

The climax of the composition is a masterful depiction of the strife and wounds inherent in love and war. The music swells, capturing the intensity of these emotions before gradually resolving into a reflective calm, leaving listeners with a sense of catharsis. Blaess’s ability to convey moods and emotions through melodies is evident in every note.

Forgotten Love Stories will be available to stream on all major platforms from March 1st; stream it on SoundCloud first.

Review by Amelia Vandergast

Pablo Laguna exposed the shadow side of neo-classical electronica in ‘Apnoea’

Madrid’s most striking composer, multi-instrumentalist and producer, Pablo Laguna, built on the foundation laid by the release of his 2019 debut album, Gradus Ad  Delirium, by unleashing his unnervingly commanding album, Is Not the Land, featuring the standout instrumental score, Apnoea. The haunting sonic narrative is a compelling dive into the depths of contemporary experimental music.

Born from the mind of a composer who seamlessly blends classical training with a punk ethos, Apnoea is a masterful fusion of neo-classical orchestral strings with unsettling electronic elements.

The disquietingly arrestive soundscape is far from the conventional cinematic neo-classical path; the horror elements are beyond Lynchian as they almost veer into baroque electronic folk territory. The synths quiver and shake as much as the electronic aesthetics to deliver a poignant reflection of our tumultuous times. Even with the jarring elements in this shadow side of neo-classical electronica, you can’t help but be hypnotised by the arcanely nefarious atmosphere.

Stream Pablo Laguna’s LP, Is Not the Land, in full via Spotify.

Review by Amelia Vandergast

Daniel Walzer – Space Thing: A Cosmic Journey Through Jazz Fusion

Tripglitch by Daniel Walzer

Daniel Walzer’s single, ‘Space Thing’, from his LP ‘Tripglitch’, is an innovatively entrancing blend of jazz, electronica, and progressive rock elements and a shining example of Walzer’s prowess as a composer and multi-instrumentalist. His ability to compose avant-garde soundscapes deeply rooted in musical tradition is evident in the synthesis of spacey tones and mind-altering melodies.

The prog-rock guitars add a unique dynamic, intertwining seamlessly with the more traditional jazz and classical elements. This fusion creates a soundscape that is vibrant and upbeat yet laced with subtle hints of dystopia. Even amidst the more energetic progressions, Space Thing evokes a sense of quiescence and solace while sharing a few tendencies with the ‘War of the Worlds’ OST.

The production of ‘Space Thing’ is gentle yet potent, allowing each instrument to shine without overpowering the others. This balance is a hallmark of Walzer’s work, reflecting his deep understanding of and respect for each genre he incorporates into his music.

‘Tripglitch’, and particularly ‘Space Thing’, is a reflection of Walzer’s journey through various musical landscapes, from jazz fusion to new age and ambient pop. His ability to blend these styles while maintaining a cohesive sound is nothing short of remarkable.

Space Thing is now available to stream and purchase on Bandcamp.

Review by Amelia Vandergast

Embrace the beauty and brutality of the human experience with Mirko Sangrigoli’s seminal neo-classic composition, Z

Mirko Sangrigoli’s latest single ‘Z‘, from his sophomore LP, is a cinematic instrumental emblem of his dual artistic identity. As a jazz musician and a composer of filmic soundtracks, Sangrigoli demonstrates his ability to straddle these worlds with finesse.

Z, the title single from his 2024 album, is a narrative of the complexities of our times, articulated through the eloquence of keys. The track begins with a sense of urgency, the piano keys dancing rapidly, evoking a sense of franticness that mirrors our chaotic epoch. Yet, there’s a method to the madness, which speaks to Sangrigoli’s jazz background. The improvisational feel of jazz is present, but it’s reined in, controlled, and purposeful.

As the piece progresses, it shifts into more reflective moments; these intersections are where Sangrigoli’s talent shines brightest. The transition from the frenetic to the contemplative interludes is seamless as they open a gateway to introspection, echoing the quieter moments in our own lives.

It’s a soundtrack for the ennui-inclined existential soul, capturing the beauty and brutality of the human experience. For those seeking a musical piece that is both thought-provoking and emotionally resonant, ‘Z’ is a journey worth embarking on.

Z was officially released on January 31st; stream the single on Spotify.

Review by Amelia Vandergast

Stelios Kyriakidis created a passport to ‘Copenhagen’ in his seminal ambient classical guitar composition.

Stelios Kyriakidis staked his claim as one of the most evocative neo-classical guitar composers of his generation upon the unveiling of his debut album, 508 Days. The opening single, Copenhagen, pays a fitting ode to the titular destination; each note, a breath taken at the profoundly inspiring scenery, a moment stolen within the rich culture, a step taken through the enriching streets.

The serenity within the instrumental soundscape constructed by the London-based Greek guitarist and composer echoes his influence of neoclassical, folk and film music elements. If the soundtrack to the film Her made an ever-lasting impression on you, expect the very same affecting experience from Stelios’ intimately composed score which undoubtedly resounds as well in a live performance as it does on record. The connection he feels to the guitar in hand is comforting throughout, echoing his own familiar and fond acquaintance with the instrument he uses to make highly visual mirages from melodies.

Prior to the release of 508 days, Stelios Kyriakidis performed in prestigious venues globally and has been featured by BBC Radio London, The Music Dances When You Sleep, and the Minor7th. Since releasing Copenhagen, the single entered the iTunes Classical Charts at no.34. We can’t wait to see where he takes his sound next.

Visit Copenhagen via Spotify and explore the rest of Stelios Kyriakidis’ debut LP,

Review by Amelia Vandergast

Nick Pike has debuted a neo-classic composition of profound contemplation with the release of ‘Norastoria’

Nick Pike

Nick Pike’s instrumental neo-classical piece, Norastoria, is a composition of contemplation, capturing the tenderness of tentative new beginnings as vividly as the tumultuousness of reality which demands resilience to weather life’s relentless storms.

Each note is as accessible as the last in the endlessly inviting piece which keeps its finger on the evocative pulse. Words are surplus to requirement through Pike’s talent in depicting human narratives in humble neo-classic melodies. Pike’s ability to infuse each note with a sense of purpose and feeling is remarkable. The single is a journey through the highs and lows of the human experience, rendered with a sensitivity and depth that only a musician of Pike’s calibre can achieve.

As a London-based producer, multi-instrumentalist, and educator, Pike brings a unique blend of influences to Norastoria, the title single prised from his debut solo album, from the classical echoes of Beethoven and Debussy to the rhythmic intricacies of jazz and funk. The title single is a testament to Pike’s versatility and his ability to weave diverse musical threads into a cohesive and engaging narrative.

Norastoria will be available to stream and purchase on all major platforms from January 12th. Discover Nick Pike’s sound via his official website.

Review by Amelia Vandergast

Jisu Jung took her journey of self-discovery in the neo-classic jazz release, Who Am I

After honing her talents in some of the most prestigious music institutions including Dresden College of Music, Berklee College of Music in Boston, and the Manhattan School of Music, the pianist and composer, Jisu Jung’s technical skills transcended into an ability to forge evocative connections with her innovative compositions.

Her latest classical jazz piece, Who Am I, welcomes you into her expressive world, where cello strings visualise the darkness we all need to negate on the path of self-discovery and the piano keys embellish the score with flourishing syncopation to mimic the freedom of personal growth.

As the momentum builds towards the mid-way point in the instrumental release, euphoric zeal starts to underpin the orchestration, marking a radical shift from the ornate air in the prelude to the virtuosic control of chaotic time signatures. Even though the energy doesn’t sustain towards the outro, the innate liberation in the progression lingers before the abrupt silence allows you to take a breath that isn’t influenced by the momentum within the classical Tour De Force.

Who Am I was officially released on September 22; stream it on YouTube.

Review by Amelia Vandergast

Fabian Jeller took his listeners ‘From Zero to Infinity’ in his latest composition

The classically trained pianist, electronic music producer and composer, Fabian Jeller used every modicum of his training and talent honing to mark his evolution towards a more viscerally stylistic, organic, and colourful tonal palette in his most seminal single to date, From Zero to Infinity.

The synthesis of classical instruments in the electronic soundscape embodies the vivaciousness of a full symphony orchestra to take you on a journey of vibrant transcendence via the arrangement of the synths and strings, which work in absolute synergy to ensure you sonically arrive at the destination the Italian virtuoso intended.

Blissful, rejuvenating, and deeply evocative in inexplicable equal measure, From Zero to Infinity captures the momentum of life, and all the stratospherically colossal twists and turns it leaves us with no option to traverse. As Bill Hicks once famously said, it’s just a ride. Jeller proved the intrinsic beauty in that ride. Strap yourselves in and surrender yourself to it.

From Zero to Infinity arrived on the airwaves on September 16; stream it on SoundCloud.

Review by Amelia Vandergast