Classical composer and pianist Melany Thompson has recently released her debut album “Memories of Home”, while each of the instrumental piano pieces offer a cathartic array of serenity, the best introduction to her distinctive approach to songwriting is “Lucy’s Lullaby”.
There’s a perceptible delicacy within Melany Thompson’s soundscapes, one which is not often found in neo-classical arrangements, but the sense of poised lightness runs right through the open and expressive piece.
Melany Thompson may have played at the Sydney Opera House at the age of 11, but I’m fairly certain that the best for this remarkably talented artist is yet to come. With the cinematic air to her sound, it would be no great surprise to hear her evocative melodies within film scores.
You can check out Melany Thompson’s single Lucy’s Lullaby along with the rest of her debut album via Spotify.
“Desperate” is the recent composition from LA-based classical composer and pianist Ryan Whyman which will creep into your bloodstream not long after the prelude. If you’re looking for the same haunted ethereal tonality as found in Ramin Djawadi’s “Light of the Seven”, you’re going to be suitably wounded by Desperate. Pairing the striking notes of the piano with the growling reverberance of the cello is more than enough to emotively contend with. Then, the inclusion of vocals from Yas Khaleghi is enough to leave your soul feeling as though it has been rearranged. It’s celestial, it’s compelling, and it’s another poignant reminder that Classical soundscapes are still a necessity in 2019.
That all sounds like incredibly high praise, doesn’t it? Why don’t you see if you can reach the outro without feeling the same way? Desperate is now available via SoundCloud along with Ryan Whyman’s earlier compositions.
If you’re tired of listening to the same repetitive 4 chord progression which have been done to death by contemporary artists and are looking for an artist whose talent hasn’t been conveniently diluted for mass popular appeal Look no further than Edward Abela.
For his seventh single “Ultraviolet” the composer created a work of Neo-Classical mesmerism at the same time as pushing the boundaries of the style. After the pensively delicate piano melodies have carved out a new definition of concordance, the instrumentals gently build into a tight arrangement of electronic effect.
With Ultraviolet, Edward Abela created a soundscape goes beyond cinematic to be the point where it would be more accurately described as poetic; the passion and the emotion doesn’t need a separate narrative, it’s all perceptible in the gently arresting melodies.
You can check out Edward Abela’s single Ultraviolet for yourselves by heading over to Spotify now.
‘De gli occhi de la mia donna si move’ is a recent composition from Ensemble Vogers; an open ensemble created by Daniele Montagner which explores the musical roots of Western Civilations. With piercingly ethereal vocals from Aki Osada the piece unravels around the swiftly compelling progression of flute, lute, harmonium and drums. The strength in the vocals hits you at the same time as the transient plucking and thudding of the instruments for an unadulteratedly pure aural experience. Whilst Neo-Classical is finally starting to break waves in the UK, there is little which can compare to the Medievally inspired piece which blends a myriad of cultures both archaic and cotemporary together to produce a compellingly cinematic sound to represent the evolution of music.
You can listen to Daniele Montagner – Ensemble Voyagers composition De gli occhi de la mia donna si move for yourselves by heading over to SoundCloud.
Even those who do not deem themselves as particularly pious wouldn’t hesitate to fall under the captivating beguilement of David Albracht’s masterpiece of a composition which was inspired by the text of Psalm 115 (KJV). To make the composition come to life David enlisted the infamously, deftly talented London Symphony Orchestra and the London Voices. The fluid composition moved seamlessly under the conduction of Paul Ayres to create a concordantly vibrant orchestral offering of momentous aural alchemy. The flurrying instrumentals never hesitated for a moment as the arrangements exuded pure untainted emotion.
Classical music may have seen a revival as of late thanks to composers such as Ramin Djawadi, yet Dallas, Texas based artist David Albracht may be the contemporary visionary to bring popular attention back to the majesty of Contemporary Christian Classical music.
You can discover the delights captured in the momentously empyreal composition for yourself by heading over to SoundCloud and checking out David Albracht’s prodigal version of Psalm 115, Not unto us, O Lord which was recorded at Abbey Road, London in May 2018.
The Death Particle are a Classical music ensemble from Wales, UK, I was always stuck on the opinion that the Manic Street Preachers were the best band to come out of Wales, however now they may have to get behind this conceptually stunning collective of musicians who approach their music in an almost Lynchian fashion.
Their latest single Atoms is one of their more traditionally styled tracks, then there are tracks such as The Laughing Heart which flow with iridescent dramatism. The Laughing Heart is inspired by one of Charles Bukowski’s poems, it will be their last single before their much anticipated release of their debut album Atoms & Bone which is due to be released in early 2018, if that single is anything to go by, I can hardly wait.
Whichever track you go for, whether you’re a fan of Classical styling or not, you’re going to be blown away by their experimental sound in which they dabble in Jazz for a Neo-Jazz crossover to create one of the most stagnantly beautiful sounds I’ve ever had the pleasure of being introduced to.
Check out Atoms & other tracks by The Death Particle via Soundcloud using the link below:
Between the classic, and indeed classical voice, and the plaintive and minimal piano lines, Slovenian polymath, Alya Elouissi weaves a ballad about identity, dedication and of self-belief. In these days of mass celebrity and a copycat artistic ethic, she uses these traditional musical materials to remind us of a universal truth. Be The One, sometimes it really is all about you, follow your dreams. They may sound like clichés in these cynical times but maybe it is something that the world needs reminding of.
And for the minimalism of the musical building blocks, The One is a powerful piece, it is polished, understated yet powerful in all the right places, it tugs heartstrings without playing the schmaltzy card, it is the sound of what happens when you take the idea of writing a sophisticated yet commercially viable pop ballad and give it to someone who really knows how music works.