Contemporary Instrumental - New Age Featured Track: Soul Improvisations-Inner Joy

Devorah Maho Lewin is the Pianist & Composer, founder of Soul Improvisations. Her journey in life brought her to us through her moving solo piano recordings,

Her latest gift, “Inner Joy,” is clear and something she hopes you can find within the music she creates.

The track continues along the same lines as her recent full release, FromThe Depths, which I had the honor and pleasure to discover.

Her innate talents and strong sense of melodicism, while blending the firm foundation of classical improvisation, exude her inner light and joy.

Through those talented fingers emerges a memorable track that exudes optimism and energy, which is contagious. With over six minutes of piano instrumental diversity, Soul Improvisations reminds us of what lies within us all.

“Inner Joy” is not just a listening experience; it’s a feeling, an emotionally moving piece that will touch your heart and soul.

This saying is posted on her site and sums up where she came from:

“The universe will reward you for taking risks on its behalf.”

– Shakti Gawain

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 7, 2025

https://www.soulimprovisations.com/about/

Devorah is a talented pianist, composer, athlete, lawyer, and single mother of three. In 2023, after working for seventeen years as a lawyer, she stepped down from her position due to her declining medical condition. She received five surgeries from 2022 to 2024, which enabled her to begin building a new life to focus on her childhood love of the piano and composing.

Contemporary World-New Age Instrumental Review: Bill Leslie-Paradise

 

Release Date:  November 1, 2025

Label: Independent

Website

Bill Leslie’s music has a unique sound. He blends contemporary instrumental with new age and world elements. Paradise holds that promise of variety and atmospheres that encourage the mind to envision peaceful healing settings. This is Bill’s trip around the world set to music.

 

“Autumn in Vermont” is a song that resonates with me as a New Englander, especially with the Vermont border so close. It’s the best time of year, with the trees (Mid-September) starting to turn into the colorful and fiery displays they will become. This familiarity brings a sense of connection and nostalgia to the listener.

 

The tracks feature a rich variety of instruments, including acoustic guitar, piano, flute, Celtic whistles, harmonium, keyboards, oboe, cello, and violin. This diversity of instruments keeps the listener intrigued and engaged throughout the album.

 

The wind blows to start the track as you imagine the leaves flying everywhere. It carries a sweet melody as the cello, flute, and acoustic guitar gather to paint that landscape in your mind’s eye. The track sets the tone for a journey of relaxing and healing sounds.

 

Then we switch over into another season, the end of winter and the beginning of spring, with “April in Asheville.” The birds are singing their song as the piano begins its serenade. The cello carries a Celtic melody as the piano’s keys continue in the background, allowing the instrument to take the lead as another change occurs, and the magical flute begins its song. The piano is a constant accompaniment as they take their turns, giving you, the listener, every opportunity to enjoy the simplicity and healing powers of this music.

 

“Oregon” starts with the sound of water, creating a vivid auditory image. The violin and flute join, maintaining the music’s flow. This combination of sounds and melodies transports the listener to the scenic beauty of Oregon, creating an immersive experience.

 

“Lofoton” is the sound of seagulls as images of the ocean enter your mind. The acoustic guitar and violin begin, with the flute adding another layer of sound and color to this dance of music. There is a feeling of freedom and joy in the notes being played. Like being in a boat in the vast open space of the ocean, there is a sense of limitlessness to that space and a feeling of being unattached to physical things back on land.

 

“Cinque Terre” is a string of centuries-old seaside villages on the rugged Italian Riviera coastline. This is the first track that does not begin with a natural sound. The music evokes the scenery of this old seaside village with its lovely acoustic guitar and cello, accompanied by the flute. The piano and guitar are harmonious and clear, serving as the lead and supporting elements when the other instruments take the forefront, such as the flute or cello. I find this aspect of the compositions captivating. The music beautifully captures the essence of this picturesque European village.

 

“Blowing Rock” starts with a sound of water rushing through the rocks of a cliff as the piano gently brings you into the scenery. The flute carries a harmony (Celtic flavored) as the violin joins in, adding its beauty and ambiance. I felt a sense of wanting and sadness in this music, although its beauty is stunning, as the wordless vocals, like a choir, give it an ethereal atmosphere.

 

“Ocracoke Winter” sounds like an old folk song, as the sound of ocean waves gives you its introduction. The flute, acoustic guitar, and violin add their touch, while another keyboard is also subtly heard. This music transports you to another time and place, and it feels genuine.

 

“Tuscan Trilogy” begins with the sound of church bells as the piano notes lead the way. The more I hear this music, the thought of a walk back in time comes to mind, and all the meaning and history that kind of journey would hold—the violin and piano partner with all the grace and elegance of a picturesque European view.

 

“Shenandoah” has flowing water through your speakers as the piano’s gentle accompaniment falls in sync. The cello sings its song with hints of sadness (which the cello is well known for). The harmonium makes a brief appearance, and then all the main instruments converge, sounding like a mini-orchestra. Quite beautifully done.

 

“Banff” is a town in Alberta, Canada. Although this is related to Canada, I could hear a brief Irish jig with the violin at the outset of this track, as it transitions to other sounds and textures. Simple acoustic guitar lines with the violin, flute, and cello joining in to create more atmosphere and feeling. Towards the end, there is a short burst of wordless vocals before the sound of waves comes in as it fades out.

 

“High Cascades” features the sound of water running and a bird, creating a sense of walking along a stream in a wooded area, with the birdsong echoing through the trees. There is a consistent acoustic guitar and violin, and some orchestration mixed in. This all blends for a soundtrack of being somewhere where the air is pure, and the water is clear.

 

“Fiordland” is once again filled with the sounds of birds. These snippets of nature are something that give the music a definite organic feeling of being there before the music starts. The harmonium, violin, and acoustic guitar blend nicely (and the cello is added eventually) as you imagine yourself on a boat moving through the fjords.

 

“August in Maine” evokes the sensation of walking through water, as the echoing bird sounds (a loon?) transport you right there, allowing you to experience it firsthand. Maine is vast and beautiful. I used to go there with my family years ago every year, but then everyone moved away as they became adults and started living their own lives. I will never forget those vacations. With those thoughts in mind, it feels bittersweet, yet also sad. The music became the catalyst for that whole thought process for me, so it moved me as any artist would want a listener to experience. All the instruments that are used consistently match the previous tracks.

 

The “Hebrides” is the largest archipelago in the United Kingdom (Scotland). As the curtain falls on this journey through nature and the various areas where it all unfolded, you can sense the emotion and elegance in the music. The music takes the listener on an emotional journey, from the peaceful healing settings of Paradise to the bittersweet memories of “August in Maine”, and finally to the graceful conclusion of “Hebrides.”

 

Subtle layers of ambiance with keys in the background take their place as the flute and guitar remind you of their importance for this recording and the constant thread that knitted this musical quilt together.

 

Bill Leslie has created his own Paradise in the music for us all to enjoy. There was a great deal of instrumentation involved, and I am sure I missed mentioning all of it within the tracks; however, you will get the idea of what to expect while listening.

Keith “MuzikMan” Hannaleck-NAMR Founder

October 10, 2025

Credits:

Bill Leslie-acoustic guitar, piano, flutes, Celtic whistles, harmonium, and keyboards. 

Bill Covington-lead piano on tracks 2, 6 and 9

Jennifer Curtis -violin

Melanie Wilsden-oboe

Nancy Green-cello

Thom Canova-recording and mixing engineer

Steve Fallone at Sterling Sound-Mastering Engineer

Tracks:

01. Autumn in Vermont

02. April in Asheville

03. Oregon

04. Lofoton

05. Cinque Terre

06. Blowing Rock

07. Ocracoke Winter

08. Tuscan Trilogy

09. Shenandoah

10. Banff

11. High Cascades

12. Fiordland

13. August in Maine

14. Hebrides

New Age Ambient Instrumental (Classical) Review and Interview: Alexander Sussman-Sonic Calm 2

Release Date: September 27, 2025

Label: Independent

Website

In May, I enjoyed Alexander Sussman’s Sonic Calm Part One. Now it’s time to check out Sonic Calm 2. I would anticipate the continuation of sounds; however, one never knows what they may discover while listening.

As “Hymn” begins, the spiritual essence of the music instantly envelops you, creating a sense of tranquility and peace. It’s a serene experience that begins the moment you hit play.

The layered effect of the synths in “Hymn” guides you on a journey of self-discovery, inviting you to fall into its graceful embrace. It’s a contemplative start that sets the tone for the entire album.

“Hygge” has more resonance and higher-end tones, with a fuller volume. There is a ding of a bell sound that comes in to remind you of its focus and ambient layers of auditory magnificence. The tempos are variable, creating something you want to hear until the end as you notice subtle nuances that are woven into the composition.

“Twilight” would indicate a connection to nature, something organic, a natural course of daily life.

The flow of the music, with its light tones and colors, helps you to envision what twilight looks like inside your mind while listening. I am being reminded of some of the great recording artists who created music like this, such as Vangelis and Tangerine Dream. That is indicative of this kind of composition and a complete compliment to the creator.

Now we move on to the next phase, where the sun sets and twilight gives way to night.

“Nocturne” takes you there gently. A tinkling piano is like a soft pillow to rest your head on as the synths do their work to embellish every note. By now, after reaching this fourth track, you should find yourself in a deep meditative state or gradually emerging from it. Of course, this is solely based on the time you allot for this practice. Similarly, this can be simple relaxation with no specific intent but that. Either choice is a good one, and this track enables you to be in the place you desire consciously.

“Reverie” is a state of being lost in thought or daydreaming, often characterized by a pleasant or imaginative train of thought. It can also refer to a dreamy or abstracted state of mind. The music captures that state of being in an inviting and pleasurable way. Keeping in mind, this is not music to excite you; it’s meant for focus, relaxation, contemplation, introspection, and allowing the jumble of cerebral activity to subside, thereby attaining a deeper level of consciousness.  This is lovely and so engaging in that way, and at the same time, it sounds like it could serve as a soundtrack to many multimedia platforms.

“Hypnagogi” is a strange word I have never encountered before. Hypnagogia is the transitional state of consciousness that occurs as you fall asleep, characterized by vivid sensory experiences, including hallucinations, sounds, and feelings of movement. This state can involve a mix of dream-like imagery and reality, often leading to phenomena like sleep paralysis or lucid dreaming.

As we progress through this listening experience and gain an understanding of the track titles, the concepts begin to take hold. This train of thought encompasses a comprehensive process. The music is the key that unlocks that door as you step into a new world allowed by the frequencies, sounds, and textures created by the synth layers and the adaptations of tempos in those layers.

“Introspection” is the primary focus here, referring to the process of turning inward to reflect on one’s thoughts and feelings.  The piano begins, melodically and purposefully, with wordless vocal sounds enhancing its timbre. As I listened, I could turn inward and travel outward beyond the confines of my physical space. This, to me, allows a healing to begin, and it’s threefold: spiritual, physical, and mental.

“Retreat” is a noteworthy term to consider. It is used in various contexts throughout the English language. However, in this instance, based on the music, this feels like taking stock of one’s frame of mind and shifting the reference point to pull back, allowing the healing frequencies of the composition to take hold.  The insertion of occasional wordless vocals or synths emulating them adds depth to the tracks in a spiritual, healing way. This is an excellent example of that approach within the composition’s structure.

The title track, “Sonic Calm,” aims to draw you into this musical journey from the very beginning. Here are the starting points of the closing track and the eventual end. Coming full circle musically, spiritually, and with purpose. As each track presented itself as a separate meditative experience, the length of this track, 7:16, brings it all full circle, combining the best of the composer’s abilities to maintain the ambient instrumental soundscapes. This music massages your being gently yet succinctly.

Sonic Calm 2, with its colorful, picturesque cover art, evokes a serene atmosphere as it soothes your mind, body, and soul through the sounds of Alexander Sussman. This is a place I would like to be 24/7, but that is not realistic. Alternatively, you can set aside a block of time during your day or evening to listen to these sounds. It is time well spent, and it will benefit you in ways you may not yet realize.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 6, 2025

 Tracks:

1. Hymn 4:34  

2. Hygge 4:14  

3. Twilight 5:06  

4. Nocturne 5:50

5. Reverie 5:12

6. Hypnagogia 4:16

7. Introspection 5:08   

8. Retreat 4:50

9. Sonic Calm 7:16

New Age-World Instrumental Review and Interview: Charu Suri - Shayan

Release Date:  August 22, 2025

Label: Independent

Website

Part 1: Review

Shayan is Charu Suri’s fourth proper release. I had the pleasure of covering The New American Songbook EP in 2019.

Shayan’s meaning, derived from the Sanskrit word for deep sleep or rest, perfectly encapsulates the pure beauty and complexities of this recording. It’s a journey that will transport you to places beyond this earth, a unique blend of new age, world, and classical elements that will leave you intrigued.

 

There is no track under 4 minutes, and the longest is 8 minutes and 44 seconds.

 

With Charu on piano and composition, and a diverse range of additional elements including violin, ukulele, guitar, harp, and vocals, the album promises an engaging and immersive listening experience. The Venezuelan Strings Recording Ensemble adds a unique touch, ensuring there’s always something new to discover in each composition.

 

The title track “Shayan” begins. The sound of a harp is ethereal and magical, as the piano keys add their ambiance and orchestral qualities. A wordless vocal is heard in the background, which is quite beautiful. The vocals come back as part of the ongoing composition. This piece is lovely and could serve as a meditation, thanks to its rich textures, atmospheric quality, and angelic, wordless vocals. Does this set the tone for the future? We shall see.

 

“Mohanam Hymn” brings the flute into the picture as the piano gently adds its soft notes, enhancing the flute’s dreamy layer. The violin arrives, then a chant begins. This is a hymn, and all the pieces that come together make it so. With over seven minutes of musical transitions and a tempo that sounds classical, it takes off from that foundation and morphs into a new-age world journey. It is a certainty at this point that not only can the music be used for relaxation and reflection, but also for meditation, inviting you to a calm and introspective state.

 

“Inner Peace” lives up to its name right away. It begins with a flute and gently introduced piano, and then a cello adds depth, accompanied by a violin. The flute carries a melody as the vocals arrive like a guided meditation. As the flute calls out, the other instruments respond with their own grace and eloquence, each tailored to its unique tone and timbre. It is an exercise in instruments and vocals arranged in different places to create the peace you seek and shall find within the music.

 

“Raga Jog” sounds like a sitar once it begins, and to say it’s a guitar wouldn’t be too far off base (because of effects, etc). This is Max ZT on dulcimer at work here. Then the deep cello arrives for the effect it can only provide. Its deep resonance is both moving and dramatic in comparison to other stringed instruments. As the piece builds, the cello becomes more prominent, but not aggressive in this context—a complex arrangement with a wide array of textures and sounds.

 

“Nightingale” starts quite differently from all the previous tracks in terms of style. This is an acoustic guitar and piano duet. It sounds slightly removed from the recording because of the change from a complex to a simpler composition. This does not detract from its beauty, though; it is lovely and serves the same purpose as all the other tracks.

 

“Raga Durga” continues with the inviting and dreamlike soundscapes. It’s designed to help you relax into the music and find spiritual renewal. The sounds you hear are the piano and flute demonstrating their exceptional beauty and hypnotic effect. Thus, the ability to encourage or help with meditation. Towards the end, a violin adds a small section.

 

“Shayan Reprise” brings the meaning of this project full circle, serving as a reminder of what the word “Shayan” means. The cello returns to lend its substantial essence to the piece, as the violin enters, sounding classical and orchestral. It’s very colorful and emotional. This is an excellent way to close out this recording, marked by such musical excellence and passion.

 

Shayan lives up to its title meaning in every way and then some. What you get is a comprehensive package featuring a multitude of instrumental excellence, spanning new age, world, and classical genres, and often all of these in one track. The length of the tracks is inconsequential if it is a consideration for a listener, given their ability to transition several times. There is so much to appreciate musically and symbolically.

Keith “MuzikMan” Hannaleck-NAMR Founder

September 19, 2025

Credits:

Charu Suri, piano/composer

Premik Russell Tubbs, flute

Anita Lerche, vocals

Jim Kimo West, guitar

Ravichandra Kulur, flute

Ron Korb, flute

Mary Dawood Catlin, vocals

Peter Sterling, Harp

Philip Vaiman, violin

Ramya Shankar, ukulele

Siyer, vocals

Raniero Palm, violin

Venezuela Strings Recording Ensemble

Tracks:

1. Shayan — (4:33)

2. Mohanam Hymn — (7:28)

3. Inner Peace — (6:38)

4. Raga Jog — (8:44)

5. Nightingale — (4:16)

6. Raga Durga — (4:49)

7. Shayan Reprise — (4:33)

Tim Neumark - Evolution (Solo Piano Op. 11) - Contemporary Instrumental (Classical)

Release Date:  September 26, 2025

Label: Independent

Website

The Evolution of Tim Neumark has been through the keys of the piano. Having the opportunity to hear his music over the years has been a pleasurable experience. And not just in an audio sense, an all-around awareness of the music makes me feel, think, and reflect in a certain way as I listen to each track.

 

This is Tim’s solo piano Op.11, and it begins with the track “Runner.”

 

With a title such as that, my first thought was that it would be fast-paced, so much for that thought. It begins with a slower tempo and gradually builds to a medium tempo as he adds more layers to the composition. Within the 4 minutes, he makes several transitions as he takes his classical foundation and builds upon it, breathing life into the notes with his emotive playing. This is the beginning of a contemporary piano-based instrumental recording with a strong influence from the classical music world.

 

“Traveler” immediately brings forth an image. The piano begins its own movements with a melodic introduction. Then, as that statement is made, Tim goes off in another direction as the classical element shows its strength and elasticity. Here is where a musician like Tim takes that foundation and builds his own mansion of sound and color. The music is full of drama and time for reflection through our own self-imposed mirrors. Its beauty lies in its strength and resilience, as he moves through each movement with precision and a sense of rhythm that always pulls you in. As the fingers travel, so does your mind.

 

“Younger” begins with a catchy melody, and as it resonates with you, the keys are in a mid-tempo mode and very resolute. The word implies a time frame or a sense of oneself feeling a certain way; is there more to it? The sounds I am hearing are a look back, tinged with some sadness, to a time when the character was younger. It ends in a very matter-of-fact way.

 

“Flour” is a very literal word; there are no hidden meanings. However, what you discover in the music may bring you to a different conclusion. Right away, there is a change in energy from the previous tracks. The playing is quicker in the beginning, and the immediacy is felt. Then, there is a change in tempo; it slows down and sounds more serious now. In between the echoing of the last note, there is another change to the flow. Perhaps the meaning here is that flour can be used to make something, a white powdery substance that turns into bread or cookies. This is merely my conjecture; I can only listen and note the changes in the composition and how they relate to the human condition.

 

“Greener” denotes the strength of one color, taking it up another level in how the eyes perceive it. The music is soft and warm, like the sunshine that can make a tree, the grass, or the leaves on a plant greener. The piano keys sound like a ballerina gliding across the stage as the physical drama of their movements tells a story. You are here for a very brief stop as the last note echoes before another change in direction. Whenever you hear a pause in a song, there is usually some change that follows directly after it—another beautiful journey through the keys.

 

“Vulture” is a bird and a negative label of a specific type of personality, so you would expect to hear some pensiveness or strong emotion. The piano sounds like it’s traveling into uncertain territory here, as if it’s giving a warning to whomever is listening. The pace quickens, then slows again. It ends, leaving you wondering, so you must make the choice, and what does it all mean to you?

 

“Darker” continues down similar paths of thought before moving forward. I did not just think of day to night with the change in light. I thought of a space in time, an attitude, a place where one can go that brings them down rather than up. The piano is very emotive here as it builds and builds. The tempo increases as the notes become increasingly complex. Three-quarters of the way through, there is that short pause and another change in tempo to a slower, more reflective one.

 

From “Vulture” to “Darker” to “Beggar,” the story begins to unravel. This forms into a trilogy of sorts when you process the track titles. And you must listen carefully to the atmosphere and attitude that may arise in this music. This time, the keys sound as if they are taking very measurable steps as the music rises, like issuing a warning to the walker to watch out for the “Vulture.” The piano is thoughtful as it carefully sounds through its keys.

 

“Renter” is not the owner. One must pay to use the space they desire. Things begin slowly and then take a dramatic turn; the sounds are like a sudden wake-up call to what is happening as the music transitions from that drama to something softer and sweeter. You know that, while listening, you were the “Renter” of this time and space.

 

“Loaner” is another progression into this instrumental outing. These tables have turned on the character transition from “Renter” to “Loaner.” However, they have similar meanings if you consider them. In both instances, you are either giving someone else something to use for a period of time or allowing them to. I am trying to hear that in the music as it plays out so slowly with its purpose. Because of the tempo, I think there is more thought and responsibility involved in being the “Loaner.”

 

“Writer” starts another transition into the final character in this story. Now we become more serious and thoughtful, as this time requires putting thoughts into words on paper, or, as we do today, in Word on a computer, or on a social media platform. The piano’s shifting tones emulate all the complexities and emotions of a person with the responsibility of being the writer, the one everyone needs to understand as they read the words. The music unfolds, and the pages turn within the music as the book is written.

 

As we close out this musical journey and story through the piano, it is time for the “Speaker” to end it. The piano’s keys speak softly and thoughtfully, choosing its intonations and movements so whoever is listening can understand and relate. The “Writer” has moved from one position to the next to amplify the words in person. The tempo does not change much, but the notes do, as a good speaker would.

 

After considering the meaning of each word in the track titles and how the piano conveyed them, I can understand why Tim Neumark titled this work “Evolution.” It was the Evolution of characters and his music. At the same time, the different circumstances, attitudes, personalities, or life changes one person could go through unfold (in your mind and through his fingers). It is beautifully played out in the drama of one man’s piano keys—the dance of the human condition set to music once again.

Keith “MuzikMan” Hannaleck-NAMR Founder

September 9, 2025

Tracks:

01. Runner

02. Traveler

03. Younger

04. Flour

05. Greener

06. Vulture

07. Darker

08. Beggar

09. Renter

10. Loaner

11. Writer

12. Speaker

Electronic Ambient Instrumental Review: Deborah Martin and Jill Haley-Rendering Time

                                           

Release Date: September 26th, 2025

Label: Spotted Peccary Music

Websites: https://jillhaley.com/ / https://deborahmartinmusic.com/

The latest collaboration between electronic ambient visionary Deborah Martin and renowned oboist Jill Haley, featuring instrumental tracks on Rendering Time—a title that signifies the duo’s exploration of the concept of time through their music—is a deep dive into the soundscapes of electronic ambient music.

The title track, “Rendering Time,” begins with wordless vocals for a moment, then the track launches into a multitude of layers of synths and oboes, bells, whooshing wind sounds, and more. The ambient textures, reminiscent of a serene forest or a tranquil meadow, transport you to a magical realm of music, perfect for relaxation and reflection.

“Space Within Spaces” is prolific in both wordplay and music, as the duo explores the space within space to place their sounds. The title itself is a clever play on the idea of creating a musical space within the larger space of the album. Jill’s Oboe is resonant and hypnotic as Deborah consistently accentuates her instrument with a variety of sounds, colors, and layers.

“Cenote (Place of Deep Water)” is a natural pit, or sinkhole, resulting from the collapse of limestone bedrock that exposes groundwater. This keeps the strong connection the ladies feel with nature (I am reminded of Jill’s recordings in outdoor venues and national parks). The echoing, reverberating tones of the Oboe are significant, as the lovely bed of synth sounds allows that instrument to effortlessly float over the top while pulling you in and keeping you.

“From Source” begins with a lovely melody, breathy sounds, and the soft beat of a tribal drum. This feels organic and in tune with something ethereal or spiritual, connected to the earth. The ambient layers give it a feeling of some ancient ritual as the Oboe creates an air of mystery. I like the idea of the track title being so animated and thoughtful as the music not only implies but brings to life. Like whisperings in the wind, it calls to you.

“Fitful Dreams” would imply a stressful condition; however, even if the title suggests that music is the eternal healer. The tempo is a bit higher, and there is a lot of movement as you would expect. Although that is true, the ladies do their best to find a place where your consciousness can arrive to let go and relax with the sounds. The synths are layered beautifully, flitting around like a bird in flight, echoing back and forth. The spacey sounds make those uncomfortable dreams disappear.

“Shadow of the Moon” begins with a dreamy soundscape as acoustic guitar and English Horn resonate tones fill the air. I enjoyed how the acoustic guitar was used, creating that atmosphere of a person riding with the moon behind them.

“This Place We Call Home” is more than just a title; it's a story waiting to be told. The carefully crafted sounds and layers draw the listener into the narrative, creating a sense of engagement and immersion. With the perfect balance of Oboe, English Horn, and ambient synth sounds, this duo has truly mastered the art of storytelling through music.

“Soaring” is like taking a flight on all the tones, colors, sounds, and frequencies of this fantastic musical journey. Although short-lived in comparison to previous tracks, it is one of the most beautiful compositions that utilizes their many talents. Your seat is reserved.

“Secrets of the Talking Trees” is their masterwork, covering 6:58 minutes of spiritual and complete connection with our amazing trees. Their vast roots and underground networks are a wonder of nature. I am certain there is much more to learn about what they do and their importance to humanity, sustaining life on our planet.

This music brings a listener into focus with the swirling, whooshing sounds (like leaves and branches moving with the wind). It’s not hard to imagine walking through a Timberland, hearing these sounds. These marvelous living things process carbon dioxide so we can all breathe, and to think we are constantly cutting them down for wasteful purposes is truly baffling—very engaging and thoughtful music.

“Sunlight and Starlight” is the perfect encapsulation of this auditory journey through sound and nature. Melody, electronics, guitar, and the call of the horn capture one’s imagination and the pure magnificence of the beginning and end of a day. We experience the miracles of the turning globe each day we are here. The synths continue to swirl around the horn sounds as you now feel like everything just came full circle.

Rendering Time through music is a triumphant work by Deborah Martin and Jill Haley. Their synchronous compositions and melodies truly capture what they are saying through instrumentations alone. This observation highlights the value and quality of the audio, which can be considered and appreciated in a tangible way.

Keith “MuzikMan” Hannaleck-NAMR Founder

October 3, 2025

 Tracks:

01. Rendering Time 5:46

02. Space Within Spaces 3:56

03. Cenote (Place of Deep Water) 4:30

04. From Source 5:45

05. Fitful Dreams 4:53

06. Shadow of the Moon 4:08

07. This Place We Call Home 3:12

08. Soaring 3:45

09. Secrets of the Talking Trees 6:58

10. Sunlight and Starlight 4:40 

About The Artists:

For over 30 years, Deborah Martin has been inspiring listeners with her ambient electronic sensibilities. An award-winning artist and Producer, Deborah works on her own projects and collaborates with other artists in pursuit of creating compositions that defy typical boundaries in the musical spheres. Crafting authentic and powerfully deep expressions in sound, Deborah’s music is always rich and simply beautiful, offering crystal clear perceptions and compelling voyages through an inner realm of ethereal visions, ancestral legends, and timeless places.

Rendering Time is the 23rd project in Deborah’s discography. Her other Spotted Peccary label releases with Jill include 2021’s The Silence of Grace, and 2023’s Into The Quiet. Jill Haley is an oboist, English horn player, pianist, and composer who travels throughout the United States visiting National Parks, often as an Artist-in-Residence, and composes music inspired by the Park while living there. She is an accomplished symphonic orchestra player, teacher, and church musician. Jill continues to appear as a guest artist on recordings created at Will Ackerman’s Imaginary Roads Studio; her many recordings on English horn, and Corin Nelsen and Tom Eaton recorded Oboe.

Jill’s releases include Glacier Landscapes, Zion and Bryce Canyon Soundscapes, National Park Soundscapes, Mesa Verde Soundscapes, The Waters of Glacier, The Winds of Badlands, The Forests and Shores of Acadia, Wrapped In Light, The Canyons and Mesas of Bandelier, The Silence Of Grace, and Into The Quiet.

 

Contemporary Ambient Instrumental Review: The Haiku Project - Hab

Release Date:  September 19, 2025

Label:  Independent

Website

I had the opportunity to hear The Haiku Project (Henrik Hytteballe) on the 2020 release Gratitude. Five years on, we have Hab, his 11th solo album. The title 'Hab' is a nod to the artist’s Danish roots, as it is a word in Danish that translates to 'have' in English, symbolizing the album as a collection of experiences and reflections.

Hab is inspired by nature and has hope as its driving force. Based on philosopher Ettore Coccia’s idea of humans as part of a living whole and sociologist Hartmut Rosa’s thoughts on resonance, The Haiku Project creates music that seeks to open connections between the listener, nature, and the world around us.

“Flourishing” is the lead-off track, and I immediately connected with the music and its ambient electronic layers. What seems like a typical instance to me is the thought of Tangerine Dream that comes to mind when I hear music like this. That band, along with Kraftwerk, is my favorite. We’re off to a good start.

“Serenity” begins with a beautiful acoustic piano leading into a guitar section (Kim Jeppesen) as the synth layer is added. The tempo is significantly lower in comparison to the previous track, until some beats entirely change the picture, adding more energy. Even with that addition, I found it extremely relaxing and was consistently pleased with the guitar melody, as it accentuated everything else that came in during the composition’s development. The continual process of building blocks to make a tower of music fascinates me. As things progress, the guitar becomes sharper, with a more rock sound, which I found refreshing. This is what serene sounds like, even when it rocks. Love it! (This is the longest track, 6:20, emphasizing the importance of Serenity.)

“Night Watch” takes things into yet an entirely different direction. And I must say I sincerely appreciate that kind of diversity from track to track. It’s a lot more interesting when you are anticipating a change

rather than knowing what to expect. The tone of this track takes on shades of grey with the organ and cello (Christophe Luciano). The cello can sound so beautifully sad; however, the keys lend some lightness to its tone. Dark as the night, yet as beautiful as a sunrise at the same time.

“Vesuvio” takes you into the area of ambient space with the flair of a soundtrack to a film. We return to the tempo and textures of the opening track, incorporating some interesting sound effects. There is a puckering sound that comes across as a beat, and things are continually added for effect. Some drama arrives via the synths and is heavier on the bass side.

There is an intrinsic rhythm found inside these tracks, and that, in turn, is the foundation on which the track is built. The sounds and effects are energizing and cinematic, reaching crescendos towards the end before fading out.

“Toy” carries a light and uplifting air. It begins with the tinkling of the keys, the backbeat, church organ sounds, and then transitions back to acoustic piano notes. The composition, filled with these uplifting notes, provides a brief but perfect musical experience that fills the space before closing out.

“Dew” evokes a picturesque image as you imagine what it could look like. Perhaps the artist here is taking the notes of the keys and gently dripping them into your consciousness, similar to morning dew dripping off the grass or the leaf of a tree. With the way the music is presented, you not only hear it, but you can also see it. Now that is what I call taking instrumental music and making it speak to you with just the notes of music; words are no longer necessary.

“Swimming In the Sky” is an excellent title for a song. How does one go about doing that? Your role, as the listener, is to put yourself in the music and create that scenery. I can imagine skydiving would be precisely that, based on the films I have seen over the years. The music’s tempo is in a constant movement phase, which is what I would expect based on the title. The backbeats are strong as the keys do their magic in various tones, colors, and textures, along with some wordless vocals. This is a soundtrack for people who seek adventure and live it. I heard the Tangerine Dream and Kraftwerk influences alive and breathing in this one.

“Esperanza” means hope. And that is one of the central tenets and purposes of this music. As the track begins, its sounds are soft and inviting, a gentle invitation to feel relaxed. As the tempo increases gradually, with some wordless vocals added, the feeling of brightness and optimism circles your consciousness. There is some nice guitar playing with a bit of jazz around the edges and lovely melodicism.

“Beekepers Son” is quite different in a significant way than all previous tracks. All this music is diverse; however, this one really stood out. The sounds that begin almost sound like a bee, which makes the thought of an individual like that more realistic. There is a rapid backbeat that sounds like it could be used for a rap song, and towards the end, there are also some sharp guitar lines that close out the piece.

“Circulation” is the final track in this most interesting musical omnibus of sound. In keeping with the context of opening humans to connections and the world around us, the synths create a comfortable soundscape with a focus on all the keyboard instrumentation. Consequently, a listener is transported on a soft cloud of ambient notes. This reminds us to relax and put more emphasis on the moment and our surroundings. As you focus on this track, hold onto that thought and try to practice it in daily life without the guidance of sounds.

Hab was very enjoyable, it lifted my spirits and train of thought from beginning to end. The production quality, from the crisp sound of the instruments to the seamless transitions between tracks, is a testament to Henrik Hytteballe’s skill and dedication. That one factor is precisely what any artist would like to accomplish in their music.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

September 28, 2025

Tracks:

01. Flourishing 5:18

02. Serenity 6:20

03. Night Watch 3:55

04. Vesuvio 5:14

05. Toy 03:09

06. Dew 4:46

07. Swimming In the Sky 5:24

08. Esperanza 5:43

09. Beekepers Son 3:24

10. Circulation 5:18