Instrumental New Age Meditation Track Feature: Allan Susoeff, Jr. (Exastis)-Crown: 936 Hz

Allan Susoeff, Jr.’s “Crown” begins with the traditional bell sound to start his meditation experience for the chakras.

Ethereal sounds swirl around, created by various synths. His gorgeous piano sounds are in sync with the flow and energy generated by the 936Hz frequency, a frequency believed to stimulate the pineal gland, which is associated with spiritual awakening and enhanced intuition.

The synths create a spark, sounding like they are taking off into the ether as your mind rests, and your body and spirit accept the path now being taken.

The orchestral sounds of the choir reemerge in this track, creating a beautiful backing as Allan pushes the tempo upward towards heaven and back down to earth. These sounds, reminiscent of a celestial choir, add a transcendent quality to the meditation, enhancing its calming and healing effects.

“Crown” is not just a piece of music; it’s a journey. It’s where we engage with our surroundings and with life, whether it’s nature or another human being. Everything starts in our heads, and from there, depending on the process, our bodies react. The sounds soothe and invite another session of focused energy and healing, making us feel connected and engaged.

Crown: 936 Hz:

The crown chakra is the seventh energy center in the body. Its Sanskrit name is Sahasrara, which means “thousands.”  It gets its name from the lotus flower with a thousand petals. Each petal represents a different aspect of our being, including all our emotions, thoughts, and actions.  It has the Solfeggio frequency of 936 Hz and is played in the key of B Major.

Instrumentation: Piano, harp, synths, pads and strings, singing bowls, timpani, cymbals, chimes

Keith “MuzikMan” Hannaleck-NAMR Review Founder

November 26, 2025

 https://allansusoeff.com

Just two short weeks after the release of his first album, Extasis, in 2019, Allan experienced another quantum leap in life: a heart attack. He emerged from his double bypass surgery with a newfound appreciation for music. The intricacies of instrumental collaborations alone gave Allan new meaning in the art of creating music. Since then, his focus has been solely on instrumental music that is not only ambient but also uplifting and positively empowering.

 

Aco Takenaka's Post

 

Instrumental New Age Meditation Track Feature: Allan Susoeff, Jr. (Exastis) - Peaceful Return

Allan Susoeff, Jr.’s “Peaceful Return” serves a specific purpose in his meditation exercise. This track is designed to guide the individual who has been using the music and frequencies to open and heal the chakras into a gentle, gradual awakening state, providing a clear and informative transition.

Notably, the beginning is absent of the bell chiming, indicative of a starting point for meditation. The piano begins as other instrumentation is added quickly, including the pan flute, oboe, English horn, clarinet, 1st & 2nd violins, viola, cello, contrabass, synths, pads, and strings. This is in addition to the singing bowl that you have become accustomed to hearing in previous tracks, which have been instrumental in guiding you through the meditation process.

The tempo is quite different in this track as well; it has a more rhythmic base and stronger orchestral movements, which are meant to engage you. These elements are specifically designed to energize the listener and guide them back to the waking state of consciousness.

It is indeed a “Peaceful Return” to consciousness and a most beautiful and healing way to do so.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

November 18, 2025 

 

Peaceful  Return Artist Notes:

Often, a “wake-up” song at the end of meditation is used to gently transition our mind from a state of deep relaxation or focus back to the usual waking state. Its purpose is to help avoid startling your brain, making the transition smoother, and ultimately to reinforce any positive feelings or insights gained from the meditation.  This song is almost entirely orchestral and is explicitly composed to nurture feelings of inner peace and contentment, combining that with the incredible magnificence of our innate human right to claim.

Instrumentation: Piano, pan flute, oboe, English horn, clarinet, 1st & 2nd violins, viola, cello, contrabass, synths, pads and strings, singing bowls, timpani, cymbals, orchestral chimes, crotales, bar chimes.

https://allansusoeff.com/

Just two short weeks after the release of his first album, Extasis, in 2019, Allan experienced another quantum leap in life: a heart attack. He emerged from his double bypass surgery with a newfound appreciation for music. The intricacies of instrumental collaborations alone brought new meaning to Allan in the art of creating music. Since then, his focus has been solely on instrumental music that is not only ambient but also uplifting and positively empowering.

 

 

 

 

Contemporary New Age Instrumental Review: Richard Dillon-Fernweh: The Need to Travel

 Release Date: November 7, 2025

Label: Independent

Website

Richard Dillon is an excellent example of someone who overcame barriers to his progress. He is autistic (Asperger’s) with ADHD. He found his path through music, and his brilliance has shone brightly like the North Star.

As I embark on Fernweh: The Need to Travel, I anticipate another emotional journey through Richard Dillon’s talented hands, a trip that I, and I’m sure many of you, can deeply connect with.

“Breakfast with my Best Friend” opens the recording. At 2:39, one of the shorter compositions offers a listener an opportunity to slip into music’s comfy chair, relax, and enjoy the soothing sounds of the piano’s keys. It’s as if his best friend could be a significant other or the piano, inviting us to share in his personal connection to the music.

“Fernweh: The Need to Travel” holds the significance of being the title track. This carries significant responsibility and demands making a strong impression on the audience.  The piano is very tempered with soft notes and a leisurely tempo, then a sound enters the atmosphere, one that is impactful. It sounds like thunder or drums off in the distance with some distortion. Then, another change in direction, with the addition of orchestral synths, creates a new soundscape for drama and movement.  Musical cinema is made on the imaginary stage inside your head.

“Memories of You” is short but very melodic with a tenderness that should be attached to a memory. The sweet notes float effortlessly through the air as you grab them with your consciousness and keep them to engage your own thoughts.

“Camelot” recalls certain things, like medieval times or John F. Kennedy. Two very separate things, however, just the term sparks these thoughts. The music continues with a very deliberate flow.  The piano sounds beautiful as it gently invites you into its world, a world that we can’t help but admire.

“Chasing Butterflies” can be literal or figurative. I picture a field of flowers on a clear sunny day, chasing the insects with their colorful wings. Monarch butterflies are prevalent in my area, and I have always enjoyed watching them flutter with grace. The music has its own wings and effectively simulates that act through the piano keys.

“Goodbye” is so final; however, the context can differ. The piano keys paint a picture of that event. The tempo is slow to medium in transitions. The emotion of that act is captured perfectly, and you can feel it. It ends with a few tinkling notes, then a burst from the synth, which serves as the curtain call for this stage.

“Only Tomorrow Knows” what is in store. When we arrive there, the answer is revealed. The piano continues its gentle, slower tempo. The added orchestration adds another layer of beauty, accentuating the acoustic piano’s brilliance.

“Echoes of a Broken Heart” is the magnum opus of the recording, clocking in at 5:59. This is the story within a story, musically speaking. The intersection of music and emotion meets here as the piano keys sound like tears of emotional pain. They resonate throughout your surroundings and travel to your heart and soul, evoking a profound sense of empathy and understanding. The instrument’s softness amplifies the track’s meaning without words exceptionally well.

“Mother Ireland” is a track you would expect to be filled with energy and color. The melody begins, and it sounds like the Emerald Isle’s theme song. The tempo is slower as it carefully lays down the path to an ancient country and its history. The recording has occasional energetic moments but overall adopts a slower, more deliberate pace for greater impact and reflection.

“Putting Pen to Paper” is meant for thought and reflection. As your mind flows, you take notes and document them all for posterity. The piano is Chapter 1 as the notes tinkle in the high range, the lower range is the bass section that sets a foundation for the pen to engage, then act. The instrumentation is methodical, just as the process of writing is.

“Butterfly Swarm” is classical music with embellishments that gather and form like the subject matter would. The small, flitting wings of this transformed creature take to the air, creating a living patchwork quilt of color.

“Into the Mines” takes its subject matter in a different direction. It becomes more serious now as the lightness of the piano does its best to relieve the stress of that type of danger a miner faces each time they go to work.  For the first time, a violin comes in to accompany the piano’s travels. The timbre of the stringed instrument holds a sadness. Interestingly, the melody of the Christmas song comes into play as the artist uses it to guide through different transitions.

“-20” could indicate a frigid temperature. That was my first thought, and the lower bass notes sound like trepidation as the higher notes attempt to offset that feeling. Mixed emotions are felt as the music flows into the grey areas of life.

“Faded Memories” are nevertheless memories, fragments of what once was and will never be. The piano again takes on the possibilities of sadness or something one would rather fade away naturally. The notes of the keys punctuate that thought process with their purposefully reflective flow.  

“Butterfly Dreams” is the third offering on this subject. If you are following along and taking the tracks’ meanings to heart, you realize this part of the album is a trilogy, from chasing them to watching a swarm, then to a dream sequence. The piano once again takes the blank canvas and paints the picture for you. Let the sounds envelop you, and you become part of the dreams.

“Mother’s Eyes” ends this recording. In my memory, I see my mother’s eyes as soft and loving, but also strong enough to look right through me. She instinctively knew the truth of who I was. The piano takes its gentle path with the Love and respect we all have for those who bring us into this world. Appropriately, it ends just as it began, with an invitation to feel each note as if it were becoming alive in that moment—a lullaby to close the curtain on this instrumental journey.

Fernweh: The Need to Travel is Richard Dillon’s musical diary of life, spoken with care and understanding without a word. He takes the keys of the piano and uses it like an angel would a harp in heaven.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

November 15, 2025

Tracks:

01. Breakfast with my Best Friend [2:39]

02. Fernweh: The Need to Travel [3:55]

03. Memories of You [2:26]

04. Camelot [4:42]

05. Chasing Butterflies [3:31]

06. Goodbye [3:07]

07. Only Tomorrow Knows [2:53]

08. Echoes of a Broken Heart [5:59]

09. Mother Ireland [3:28]

10. Putting Pen to Paper [3:36]

11. Butterfly Swarm [2:25]

12. Into the Mines [4:56]

13. -20 [3:35]

14. Faded Memories [3:03]

15. Butterfly Dreams [2:32]

16. Mother’s Eyes [4:24]

Contemporary Instrumental New Age Review: Ian Maskin-Lullaby For The World

Release Date: November 13, 2025

Label: Independent

Website

Ian Maksin, a cellist, composer, arranger, and vocalist, is a linguistic marvel, currently singing in 42 different languages. His unique ability to traverse linguistic boundaries has captivated audiences worldwide for over a decade, with more than 150 concerts per year on all continents, including numerous free concerts for schoolchildren in various countries.

The title track Lullaby for the World begins, and you hear a cello as the lead instrument. That is quite unusual for my listening experiences, so I did not know what to expect.

The instrumentation is not just excellent, but it also carries a surprising amount of rhythm, which was an unexpected pleasure. This is one of four instrumentals you will hear on this recording. All the other tracks, each in a different language, are infused with a deep emotional expressiveness that is sure to move you.

“As Ari I’m Sokhag” begins with Ian singing in Armenian, you immediately recognize his passion and reverence for the track’s meaning.   It is “Come, My Nightingale” in English. So, with that in mind, you can place the track in the proper context of a love song. As you hear the instrumentation and the “wanting” sound of the cello, it all becomes clearer, painting the appropriate scenery.

As you peruse the track selections, you realize that this is a literal musical journey around the world, showcasing the technical prowess of this talented man. His voice, akin to that of an opera singer, is a testament to his vocal skill, and it is very pronounced and evident.

“Oi, khodyt’ son kolo vikon” is vocalized in Ukrainian, meaning “Dream Passes by the Windows.” Considering what that country has been going through over the last several years, it certainly seems appropriate. You can hear the expressiveness and ultimately a sadness in Ian’s voice as the cello accompanies his vocals with a resonant tone that matches his inflections.

“Esimde” in Kyrgyz translates to “I Remember.” At this point, it’s evident that the project’s formula serves as a stage for the artist, resembling an opera infused with drama and emotion throughout.  The way he sings and plays the cello is unique, and the combination is stunning.

“Nani Nani (Sephardic/ Ladin)” asks the question “Who’s Who?” and sounds Middle Eastern, with the vocals and accompanying cello accentuating that atmosphere; however, its roots are far from that. From what I gleaned, it’s Judaeo-Spanish, also known as Ladino, Judezmo, or Spaniolit, a Romance language derived from Old Castilian Spanish. And if you listen to the music and lyrics, it certainly sounds like a call out to another person of significance.

“Diarabi (Instrumental)” is “Beloved,” and so another tale unfolds, and a call to another takes shape through instrumentation alone this time. The cello is the perfect instrument, setting a tone and texture that are emotive and expressive, unlike any other stringed instrument. This is clearly stated here.

“Lalaee (Persian)” is “Lullaby,” which circles back to the album title. This ancient land of Persia conjures visions of vast deserts and the world’s hub thousands of years ago, where people traveled for trade and knowledge. The atmosphere feels real and not imagined.

“Nini Sine, Spavaj Sine (Bosnian)” means “Nina son, sleep son.”  This track maintains the lullaby’s context nicely, with its drone-like cello notes below rhythmic, vivid vocals. I find the similarities in the vocal intonations amazing across all the different languages. In the same instance, Ian has a firm grasp of how to present each song differently.

“Nuku Nuku (Finnish)” translates to “Doll Doll.” I noticed a significant change in the presentation here, where Ian uses tongue-rolling in this short dance at 2:21.

“Pavane (Instrumental)” is a slow processional dance typical in Europe during the 16th century. To get that reach back hundreds of years requires knowledge not only of a culture specific to the area, but also of the roots of classical music. It is very colorful, full of rhythm, and flows quite beautifully, with exquisite cello playing.

“Toryanse (Japanese)” translates to “let me pass” or “please pass through.” This is an outreach, a request respectfully to move forward from where you are. I think this could be one of the more difficult languages to learn, not only to speak, but also to sing. Ian has no mask in any of these songs; he steps in, bearing soul, and does so with such grace and perfection. The feeling of calling out is captured here.

“Jhoola Jhoole Re Nandlal (Hindi)” means “Swing, swing, Nandlal.” I am not sure how the word swing comes into play here or in what context. I do, however, recognize how it sounds a bit like jazz in a traditional dance, perhaps. I may be way off on that assessment; however, that is what it feels like.

“Isabeau s’y promène” (French) means “Isabeau walks there.” I do see and feel that the rhythm here and the phrasing are exceptional; along with the cello’s deep tones and Ian’s magnificent voice, it comes alive with the proper energy. Once again, the tongue-rolling is used for more emphasis and sounds very French.

“Into the Night (Instrumental)” closes out this fascinating musical and vocal journey. It starts with a well-paced rhythm as the cello enters, all its color and emotion, evoking a landscape of change and movement from light to dark. A transition we all go through every day. This is a perfect ending to so much passion, emotion, and color intersecting in the music after hearing all the different languages accompanied by the cello. The music says it all without words.

Ian Maskin’s Lullaby For The World is a fascinating listen and a significant musical achievement. The selection of compositions and all the languages covered is impressive. For me, it was a learning experience translating various languages and then hearing how they were expressed within the chosen dialect. This was so different in so many ways, and it captured my interest and imagination without fail in every track.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

November 13, 2025

Tracks:

01. Lullaby for the World (Instrumental)  

02. Ari Im Sokhag (Armenian)  

03. Oi, khodyt’ son kolo vikon (Ukrainian)  

04. Esimde (Kyrgyz)  

05. Nani Nani (Sephardic/ Ladino)  

06. Diarabi (Instrumental)  

07. Lalaee (Persian)   

08. Nini Sine, Spavaj Sine (Bosnian)  

09. Nuku Nuku (Finnish)  

10. Pavane (Instrumental)  

11. Toryanse (Japanese)  

12. Jhoola Jhoole Re Nandlal (Hindi)  

13. Isabeau s’y promène (French)  

14. Into the Night (Instrumental)  

New Age Instrumental Meditation Review and Interview: Allan Susoeff, Jr. (Extasis)-The Solfeggio Experience

Release Date: November 12, 2025

Label: Independent

Website

The Solfeggio Experience is a journey through the 7-chakra system, written and performed by Allan Susoeff, Jr. (Extasis).

The goal is to bring balance to the body’s energy centers through music and specific frequencies for each chakra.

For those who may be inexperienced with the chakra, it is a meditation aid, a psychic or psychospiritual energy center in the subtle body, as visualized in a variety of Hindu and Buddhist tantric yoga and meditation practices.

To advance and explore that knowledge, you can explore Solfeggio frequencies. They are specific sound tones believed to promote healing and well-being, ranging from 174 Hz to 963 Hz. These frequencies are thought to have positive effects on mental, emotional, and physical health by generating vibrations that help achieve relaxation and balance.

Accepted Solfeggio frequencies for each chakra were used for this recording, as well as the corresponding binaural beats, and each track was written in the key signature of that chakra’s note and chord. Each song is designed to help you relax and support meditation, breathwork, sleep, or other somatic practices.

The music and frequencies on this recording are specific to each energy point in the chakra. Anyone serious about healing and general well-being should consider exploring this collection of tracks.

Ambient sounds from synths and piano populate the tracks, creating a perfect balance of music and frequencies that will soothe your inner core and radiate through your consciousness. Spiritual uplifting is something anyone could use, especially now, with all the stresses we face daily.

The release points of energy in our bodies can either be advantageous or detrimental to our overall health. What I found by going from track to track was a clear difference, as outlined in the presentation for this project.

The changes in frequency and sound are so specific, and it’s essential to keep that in mind, depending on what you want to focus on or if you’re going to experience it in its entirety, which would last forty-four minutes and fourteen seconds. Either way, it can be broken down into a different track every day, or into a complete recording for deep meditation or general relaxation. Either choice will be beneficial.

A good example of the transitory nature of this recording is the notable shift from the opening track, “Root,” to “Sacral.” I heard tones from a sitar and the constant tapping of the cymbals. This can serve as an additional focus point, alongside the continuous drone or synth layer present in every track. I think this is a significant point that shows the artistry involved and the creative process. It also allows the person listening to choose which tone, frequency, or music to follow in the process.

Although the emphasis is on frequencies throughout, the music added to the mix plays a strong role. You will hear diverse layers in this music. The movement and flow of energy is meant to emulate that within us all (our chakras).

Another terrific example of the artistry here is the “Throat” track, which is gorgeous, with its orchestral arrangements and gentle piano. Hearing it gave me chills—it felt extraordinary. It’s real, organic, and in the ether all at once.

If you enjoy ambient music filled with layers of synth or a soft acoustic piano, this is a divergent listening experience you want to reach for again. Take this recording and all its intrinsic and essential value and implement it into your daily life.

The Solfeggio Experience offers a multitude of audio pleasures you owe yourself the chance to explore.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

November 12, 2025

Tracks:

1. Root 396 Hz (6:27)  

2. Sacral 417 Hz (8:53)

3. Navel 528 Hz (4:30)

4. Heart 539 Hz (4:48)

5. Throat 741 Hz (4:59)

6. Third Eye 852 Hz (5:21)

7. Crown 936 Hz (4:48)

8. Peaceful Return (4:28)

Billy Yfantis Celebrates a Decade of Cosmic Soundscapes with the Album “2015–2025 The First Years in Space”

Experimental electronic composer Billy Yfantis proudly presents his new double-length anthology album, “2015–2025 The First Years in Space.” Spanning a full decade of sonic experimentation, this 30-track release represents Yfantis’ artistic evolution through ambient, electronic, and noise-based soundscapes inspired by the mysteries of the cosmos.

The album compiles highlights from Yfantis’ previous releases along with nine previously unreleased compositions, forming a complete chronicle of his creative journey across the past ten years. Each piece reveals a unique approach to sound design, mixing music technology with conceptual art and a fascination for scientific exploration.

Among the most distinctive pieces:
• “The Electric Drill Session” features real sounds of an electric drill, turned into rhythmic, industrial elements that blur the boundaries between man-made tools and music.
• “Landing” incorporates authentic NASA spaceship sounds, carefully edited and arranged to recreate the sensation of landing onto an unknown planet.
• “Dust Not Found” includes real vacuum cleaner recordings, turning the chaos into an experimental metaphor for the emptiness and silence of space.

Other highlights include the meditative “Ionosphere Reverie,” the expansive “Cosmic Noise” and “Planetary Noise,” and “The Universe Collapses (Live at Norcal Noisefest 2022),” a 15-minute improvisational performance recorded at one of the world’s leading experimental music festivals.

“I am pleased to present you my compilation which is a fair synopsis of my recordings (8 full albums and 5 singles) between 2015 and 2025. This is a reference point on the evolution of my music.”— Billy Yfantis

The second part of the album introduces nine previously unreleased tracks, including “The Journey,” “Dreaming Among Planets,” and “Behind the Eye of the Universe,” which explore new territories of analog synthesis, lo-fi atmospheres, and ambient acid tones.

Watch the Official Video Teaser

YouTube (Shorts): https://www.youtube.com/shorts/4jSajQY4Gzs

Listen to the New Album

• Spotify: https://open.spotify.com/album/4IL0S3CN6QYVn77seqENqc?si=oMDWcRTFSNy2YSSzyX_vUQ
• YouTube Music: https://music.youtube.com/playlist?list=OLAK5uy_k2XhV-8YDvbWGHULUpbixaCxydMUO02BA
• Apple Music: https://music.apple.com/us/album/2015-2025-the-first-years-in-space/1825805358
• Bandcamp: https://billyyfantis.bandcamp.com/album/2015-2025-the-first-years-in-space

Album Details

• Title: 2015–2025 The First Years in Space
• Artist: Billy Yfantis
• Release Year: 2025
• Format: Digital Album (30 Tracks)
• Genre: Experimental / Ambient / Space Music / Noise
• Label: Independent

About Billy Yfantis

Vasileios (Billy) Yfantis holds two master's degrees in computing science and a Ph.D. in the field of e-government. Billy has been working on music since the late 1990s by experimenting with tape mixing and sound design. Billy is playing digital keyboards but prefers to express his artistic dream through the electronic sounds that come from unusual machines. He has experimented with the recording of vacuum cleaners, electric blenders, and other strange sounds that have resulted in musical releases. Moreover, Billy has authored books on music, business, and science, and from time to time he speaks about electronic governance at scientific conferences all over Europe.

More Music: https://billyyfantis.bandcamp.com

Books: https://www.amazon.com/Vasileios-Yfantis/e/B00JNNL306

Contact Details

Email: Byfantis@yahoo.com
Facebook: https://www.facebook.com/billy.yfantis
Twitter: https://twitter.com/billyyfantis
Instagram: https://www.instagram.com/billyyfantis

Press inquiries: Keith James, Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com