Blue Wolf Reviews

Tag: ethereal

  • Ethereal IV

    Ethereal IV

    Recorded in single day at the Kismaros Concert Hall in Kismaros, Hungary, at the end of a long tour, the trio of Kevin Kastning, on his beloved 30-string Contra-Alto guitar, Sandor Szabo on electric guitars, and Balazs Major on percussion, set about laying down Ethereal IV and creating an outstanding body of work that transports.

    Over time their work has segued from pure classical to high jazz embraced with an almost clinical precision in the timing of the notes, to create stand-alone pieces that almost at times defy description. Such is the rhythm and sound that allows the soundscape, or convergence, to blend seamlessly into perfection.

    The six tracks that make up Ethereal IV coalesce into a seamless journey which creates a rather unusual platform to allow the cares and worries of today’s world to drift away. This then encourages a surreal sense of peace that becomes apparent in the progression of the tracks.  First Occurrence commences the journey with an almost jangling series of discordant notes, which if course it is not, as it is a carefully constructed piece, or should it be  improv it could be considered as a masterclass.

    By the time Fourth Occurrence is reached there is what could be considered an Asian influence creeping in formed with the careful use strings structuring a deep, sombre, devotional, almost melancholic air, encouraging a time for reflection. Sixth Occurrence is full bodied with a delightfully light backbeat which captivates with the ingenuity of the construction, to encourage the listener to return once again to this earth, refreshed and at peace.

    One of the hidden gems that add to the extraordinary acoustic sound of the work is the incredible acoustics to be found at the Kismaros Concert Hall, which Kastning has used in previous recordings to bind the notes with an otherworldly ambience.

    Once again, and as always at the end of one of Kastning’s albums, the question is posed, is this the work of masters of improv, all emotionally thinking and feeling as one, knowing with surety how to merge with one another to create the perfect sound, or has the work evolved from an alternate universe that knows no boundaries, but delivers a primal sound that resonates to perfection with the human psyche?

    However the music is considered, absorbed or enjoyed it is definitely original, unusual, and ethereal interlaced with a delicately haunting beauty.

    Pure classical, high jazz or something else, this is yours to decide!

  • Speak to the Sky

    Speak to the Sky

    If there was one album that is definitely required in this topsy-turvy world in which we all live, Speak to the Sky from James Marienthal could be seriously considered as the one. Beautiful in its simplicity, Marienthal sits in deep conversation with the ethereal creator, the soul deep within, to bring forth a collection of pieces offered for total and divine meditation.

    Recorded at The Tank, a place mysterious within itself, the incredible reverberations which underpin the melodies set the vibration to a level that absorbs the listener, the journeyman, the person seeking relief from the daily worry of life if just for a short, relaxing, healing moment in time.

    Piece by enchanting piece the conversation unfolds inviting you in to be soothed, washed with peace through the almost eerie melody of the flute, singular, haunting and earthy. Joined from time to time with Arwen Ek’s mellifluous vocals, which take the vibrations to another level, encouraging deep meditation, there is, as the work unfolds the occasional discrete use of piano and various string instruments, shakers and bells change the vibration of the music.

    Slowly and gently the tempo changes slightly in Navajo Twilight as it marks a turning point to returning from a place of solace, but still keeping that underpinning of calmness, as if the Angels have taken charge of the music in preparation for the return from a world of pure beauty and calmness.

    First Breath is eerie, haunting, simple and captivating; the sound of the flute all that is required; A Terraplace of Time offers a gentle landing, a return and at 7.22sec could also be used as a stand-alone piece for a few moments of relaxation, calmness or meditation in the midst of a busy day.

    Marienthal considers Speak to the Sky as a prayer from the heart and as such, as do all prayers, the benediction is offered with unconditional love, a beauteous sense of peace and wellbeing.

    In his words:

    to the creator of life thank you for this opportunity to be human

    to be both divinely beautiful and perfectly flawed

     to feel joy, sorrow, love and gratitude

    to love deeply both myself, my brothers and sisters on this journey

     to feel connected in my community and in my solitude

     thank you for the freedom to explore life on earth

     and all its challenges and blessings

    with open mind and strong heart

                                                                                        all my relations.                                                James Marienthal

  • Convergence I

    Convergence I

    As with all his work Kevin Kastning strips music back to the most minimalist format, creating music that is or could be considered as purist. Sitting somewhere between high Classical and a purist form of Jazz his latest work, with Sandor Szabo and Carl Clements Convergence I, resets the levels of, or rather establishes a fresh style of music, that of Ambient Classical Jazz, for want of a better description.

    While this may seem a somewhat whimsical summation of the music create by Kastning, Szabo and Clements, all masters of their genre, the first track Splintered Gaze Remaining, is indicative of this concept, as during the unfolding of the work, the obvious classical conations are there to be captured with ease, but also create a slightly discordant melody which acts as the prefect introduction to this fascinatingly beautiful album.

    Shadows Starlite Creep creates a haunting, ethereal vibration with the flute acting almost as a drone, underpinning the clear, insular notes of the guitars carefully threaded throughout the ambient base melody. Unusual as to be expected, but almost vulnerable as this combination of flute, classical and electric guitar is a fresh new landscape for Kastning.

    Up tempo and totally fascinating is Walking Ice Within which in so many ways displays the immense skill of the musicians as they create what seems to be something of a jam session, but is an incredibly skillful walk on the wild side of Jazz. This track has a vibrancy claimed as its own.

    Convergence I began as an idea back in 2015 when Sandor Szabo was in America to record with Kastning. Clements was invited to work with the duo as each of the men were familiar with the others style and standards of excellence. Both Szabo and Clements had worked with Kastning over many years. As a trio, this was to be a new venture and one which has given a wonderful freshness to the music, moving away from but still retaining Kastnings’ signature style.

    Drawing this elegant, dainty work to a close is the hauntingly beautiful Lost By Spells which as the title suggests, weaves an alchemy that is stylish, gentle and graceful, making this the perfect choice to conclude a unique collection of work.