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

New Age-Holiday-Instrumental Review: Neil Patton-Gloria-Piano for Christmastide

Release Date: November 7, 2025

Label: Independent

Gloria (CD) – NeilPatton.net

Christmastide, also known as the Twelve Days of Christmas, is a sacred and joyous season in Christianity. It begins on December 25 and lasts until January 5, culminating in the Feast of the Epiphany. It is a time for celebration and deep reflection on the profound significance of the birth of Jesus Christ.

Neil Patton, in a joyous musical tribute to the festive season of Christmastide, has released Gloria-Piano for Christmastide. The title ‘Gloria’ signifies the joy and celebration of the Christmas season. At the same time, ‘Piano for Christmastide’ indicates that the album is a piano-focused musical journey through the Twelve Days of Christmas.

The lighthearted warmth and spiritual depth that Neil Patton’s album brings are a source of joy and inspiration, making it the perfect soundtrack for the festive season.

This is instrumental holiday new-age piano music. And once you start playing the opening track, “O Come, O Come, Emmanuel,” you recognize that this is no ordinary or traditional type of recording. And honestly, for my ears, that is precisely what I like to hear this time of year. The improvisation and enough familiarity, mixed in, are essential for that spiritual, memorable connection you had as a child into adulthood.

That is what you will hear on the following track, “Joy to the World.” The classical leanings, with their structured and refined musical elements, and the traditional melody, a familiar and beloved tune, come together in a short burst of musical tones on the keys. It all falls together nicely, creating a harmonious blend of tradition and innovation. All the elements of improv, holiday sounds, and melodicism intersect for two minutes and forty-eight seconds of pure joy.

“Still, Still, Still” perfectly reflects its title.  At a slower tempo than what you heard previously, Neil keeps a timeless melody alive and balances the composition’s flow with his talented fingers. Stillness is a space in time and consciousness brought to life via the excellent piano.  

“What Child is This” features Cathy Patton on flute, adding a unique and enchanting layer of sound to the piano composition. The combination of piano and those two instruments creates a mystical and magical soundscape. Around mid-point, the piano takes flight in this most beautiful and uplifting way: such a lovely melody and clever improvisation.

“Hark! The Herald Angels Sing” is one of the more recognizable tracks. Its unforgettable melody, and the piano’s answer to the call, musically explore different branches of the tree. The playing is classically influenced, with notes hitting your ears with a sense of joy and warm energy, all with precision.

“The Christ Child Lullaby” is a slow burner done with the passion and grace one would expect in a lullaby in this context. The grace is in the keys’ announcement of love for the baby Jesus, and the passion is in the belief that this individual is the one and only savior of mankind. The melodicism that is held onto so strongly in these tracks maintains the original spirit and meaning, and that fact alone should bring light and joy into any Christian’s heart. The music calls to your inner spirit from start to finish.

“Gabriel’s Message” features Cathy on Flute and Piccolo. This additional layer of sound carries a resonant tone very different from the piano; however, it is wonderful, adding a special touch to the melody and the track’s spiritual nature. The piano’s flow complements Cathy, and that is echoed back to the piano in the same way.

“It Came Upon the Midnight Clear” rings so true to my ears. Certain songs hit the heartstrings differently, and this is one of them. I remember going to midnight mass with my family as I got old enough to stay awake for it. Before that, it was morning masses. Because of these songs, I have eternal memories stowed away in the melodies. It is a time so far away, literally, but so close because of this music.

“Emmanuel (God With Us)” marks Cathy’s last appearance on the recording. And, notably, this is an original composition by Neil. This is a step away from the traditional sense of this album; however, it takes a new musical path, while remaining spiritually strong and meaningful. The combination of gorgeous piano melodies and the flute is stunning. The classical underpinnings remain strong in Neil’s approach.

“Bring a Torch, Jeanette, Isabella” begins with some fast-moving chords, then it breaks for a few seconds to a slower tempo, then back again. This is a transitional piano piece with a lot of melody, and the classical influences shine brightly. The torch burns brightly for those who appreciate instrumental piano music!

“Silent Night” is a fitting classic end to a recording dedicated to Christmastide. This is yet another composition that sparks my inner child and spirit. I must thank my parents for instilling that in me at a very young age. Although the church is no longer the institution it once was to me, it was critical in shaping the person I became. The piano sings so softly and sweetly that you can feel that the heart of this artist is permeated in every note. Such a beautiful curtain closer.

Neil Patton has created a special celebratory recording with Gloria-Piano for Christmastide. It will hold meaning for so many people. The music is superb, and its meaning goes beyond what words can say, which is precisely why this is instrumental —it works from start to finish.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

November 7, 2025

Tracks:

01. O Come, O Come, Emmanuel (5:09)

02. Joy to the World (2:48)

03. Still, Still, Still (4:11)

04. What Child is This (3:59)*

05. Hark! The Herald Angels Sing (3:54)

06. The Christ Child Lullaby (5:26)

07. Gabriel’s Message (2:58)*

08. It Came Upon the Midnight Clear (3”55)

09. Emmanuel (God With Us) (4:03)*  **

10. Bring a Torch, Jeanette, Isabella (2:38)

11. Silent Night (4:49)

* Featuring Cathy Patton on Flute, Piccolo

** Original Composition

World New Age Instrumental Review and Interview: Aco Takenaka-Ancient Seeds

Release Date: October 19, 2025

Label: Independent

Website

Aco Takenaka, a brilliant singer-songwriter from Tokyo, captivates audiences with her unique blend of alternative, ambient, folk, and New Age music. This combination of genres, deeply rooted in diverse cultural traditions, creates a world-new age sound that is both unique and culturally enriching. With her vivid, expressive voice, she draws listeners in, creating a profoundly personal musical experience that is rich in diverse cultural influences.

My journey with this artist began in August when I had the privilege of covering her first single from the recording “Oxum” on the recently released Ancient Seeds. This experience left a profound impact on me, and I am excited to share it with you.

Aco’s vocal range is superb for these tracks and their meaning. Her sense of rhythm and tempo feels connected to esoteric things. The inflection of her vocals during these tracks sounds like a combination of Japanese and American Indian; it’s exciting.

“Ame Kuni” leads off, accentuating her incredible vocalizations backed with harmonizations of her own voice. As instruments enter the mix, it gets more layered and prolific. Tribal drums sound off, and a synth is added intermittently as she repeats the phrase, serving as a fixed point of concentration for relaxation, introspection, or a gradual meditative state. Ame-no-Minakanushi is a deity in Japanese mythology, portrayed in the Kojiki and the Nihon Shoki as one of the first deities to manifest when heaven and Earth came into existence.

“Tate Yorinaka” conveys, through its repetition, the feeling that you are one with Mother Earth herself.

Tate Yurianaka, Tate Yurianaka,

Camu Ne Iyari, Camu Ne Iyari,

Tate Yurianaka!

(Possible translation: “Mother Earth, I offer my Heart” — or “Here, You have my heart.”)

As you hear the inflections from an ancient time, they begin to take hold and gain more significance once the repetitive phrasing ends and a flute enters the mix. Then the music subsides, the phrasing returns, and, for a short time, the music is added to the significance, meaning, and purpose.

 “Wani Wachi Elo” (“Wani wachiyélo”) is a Huichol song that connects with the Great Spirit — a sacred chant to unite with the Divine Source of Life and Wisdom. The native flute is a perfect companion to this ancient phrase.

Wani Wachi Elo, Wani Wachi Elo,

Wakan Ka Taya, Wakan Ka Taya

(Possible translation: “Oh Great Spirit, I want to live.”)

“Oxum”, also known as Oshun, is a goddess in Yoruba religion associated with fresh water, love, fertility, beauty, and sensuality. Her name means “Sweet Water,” and she is revered for her nurturing qualities and connection to femininity. You will hear the water in this track to enhance one of the meanings. It captured my imagination when I first heard it.

Listening again did not change that feeling; it was a reminder of how different this is for me to hear music and vocals sung so beautifully in a genre where it is usually instrumental. It moved me even though I could not understand the language; I found out what it meant, listened, and found more meaning.  

“Iyalawa” is another one sung to Mother Earth, in Yoruba. It helps us embrace the profound warmth and nurturing essence of the Great Mother — the abundant source of all life.

“O Mama Bakudala” is a South African song that translates to "The mothers from way back used to pray." It is often sung to honor ancestors and invoke spiritual presence during gatherings. And right at the beginning, it sounds like it originates there, in Africa. The vocalizations and rhythmic drums are spot on.

“Om Mani Padme Hum” is a six-syllable mantra in Buddhism that translates roughly to “praise to the jewel in the lotus.” It symbolizes the union of method (compassion) and wisdom, essential for achieving enlightenment.

As we traverse the world in search of various spiritual meanings and practices, the angelic voice carries the message home. She repeats the mantra, the bell rings, symbolizing the clarity and purity of the Buddha’s teachings and helping focus the mind and create a peaceful atmosphere for meditation. The sound also serves as a reminder of the impermanence of all things, encouraging mindfulness in practice. This is absolute and beautiful perfection with no attachments to weigh you down; your freedom awaits.

“Ramadasa” is a powerful mantra that has many benefits. It can help to increase positive vibrations, release negative emotions, balance the mind, body, and soul, eliminate negative karmas, and awaken Kundalini energy.

A soft acoustic guitar accompanies Aco in this track, and the addition to her voice is an excellent choice. Her voice leads you down the path to enlightenment as it has in all the previous tracks. I enjoy it so much when she sings in the singular sense, then her other layer is added to make it sound like a choir of her own voice. It is so absorbing and exquisite.

“Lokah” is a Sanskrit word that translates to “universe,” “realm,” or “location,” and it refers to all beings or worlds existing within that space. It emphasizes the interconnectedness of all life and the shared experience of existence.

The music begins to go in a different direction here: there is a flute and what sounds like a sitar, then it changes enough to sound like a guitar at times. The layers of sound are fascinating, and Aco’s voice echoes with resonance and meaning once again—compelling change in sound and approach.

“Kukurihime Hime” no Kami, also Kukurihime no Mikoto, is a Japanese Shinto goddess venerated as Shirayama Hime at Shirayama Hime Shrine in Hakusan, Ishikawa Prefecture.

It starts with the resonating and echoing tribal drums as Aco begins her phrasing; it is magical and mesmerizing. If that is the intent here, it works wonderfully. The drums sound like the goddess’s steps as she moves closer, with additional sounds added. Sounding ancient, ritualistic, and something created in the heavens.

“Tohokami Emitame” (“To Ho Ka Mi”) has multiple meanings, which Aco shared with me.

Primarily, it refers to the ten deities who were present at the dawn of life — beings who dwell somewhere within every family lineage, representing enlightened ancestors or the divine source of life itself.

These eight syllables carry multiple layers of meaning. One aspect is the power to shatter all thoughts — to break sound itself into its finest particles, purifying even the meanings within. In doing so, they cleanse the personal mind, the inherited mind, and the habitual patterns of the

human mind, returning everything to the light of the very beginning. They also purify the entire lineage of one’s physical ancestors, allowing us to receive their protection and blessings. Reaching back to ancient times — from the origin of life to this very moment — they cleanse and bless the whole ancestral line.

And this invocation brings forth blessings beyond comprehension, across all dimensions, for those who open themselves to receive.

As your spiritual journey ends, you begin a new chapter transformed in mind, body, and spirit.  Yes, it can be that prolific if you take a moment to understand the meaning of each track. Aco Takenaka’s voice is the most potent instrument on Ancient Seeds. Everything else is a musical coloring that completes and ties together the divergent compositions.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 28, 2025

Tracks:

01. Ame Kuni (04:08)

02. Tate Yorinaka (05:14)

03. Wani Wachi Elo (03:41)

04. Oxum (05:12)

05. Iyalawa (04:41)

06. O Mama Bakudala (03:32)

07. Om Mani Padme Hum (03:59)

08. Ramadasa (06:43)

09. Lokah (06:23)

10. Kukuri Hime (05:55)

11. Tohokami Emitame (04:31)

Contemporary Instrumental-Holiday Review: Mark Barnes-25

 Release Date: October 31, 2025

Label: Independent

Website

25 is the 15th and latest studio album of new original music from Mark Barnes, as well as his own take on Christmas classics.

The album celebrates his recent induction into the Indie Music Hall of Fame in Los Angeles, 25 years of making music, and his love for all things Christmas.

25 is a diverse selection of musical interpretations, and the artist reflects his emotions from the Holidays and the turmoil of our times through the music.

“Believe” begins this recording with a soft synth layer backing a slow, acoustic piano tempo. The sounds give you an immediate pause as the sweet notes fill your space and perception with a sense of reflection and spiritual significance. The synth layer adds a modern twist to the traditional piano, creating a unique and captivating sound.

“Mary Did You Know” is one of my favorite Holiday tracks. The melody is beautiful, and I recall the lyrics as equally significant in accompanying it. The song, which reflects on the miraculous birth of Jesus, is particularly poignant when played on the piano. This served as a powerful reminder of the blessed holiday and the birth of Jesus.

“O Come O Come Emmanuel” commences with ethereal sounds and an orchestral synth backdrop. It conjures a vivid scenery in your mind’s eye. This rendition, a unique take on the original, showcases the transformative power of electronic synths and sounds. It offers a fresh perspective on the original melody, revealing the beauty of improvisation.

“We 3 Kings” continues with the flow of traditional holiday classics performed on the keys in the most exceptional way. The tone is fantastic, with the synths swirling in the background. As I have come to recognize over time how important that synth layer can be, I am again reminded of its fitting place. It’s like how a drummer follows the bass player. It’s a partnership that is essential to any composition, and here it shines like a bright star.

“Snowbound” shifts from traditional classics to seasonal memories for those of us who grew up in all seasons. When you’re a child, being bound by snow is exciting because you are not out there shoveling and using the snowblower. Your only concern was playing in that winter wonderland, building snow forts, sliding, and just breathing in the cold, crisp air. I recall being out all day and coming back with frozen toes. Sweet memories are induced by the lovely touch of Mark Barnes on his acoustic piano. To me, it sounded like a lullaby of love and time that I will never be able to recapture, so some sadness is part of what I felt—emotionally moving music.

“Slumber For The Sleepers” continues with the tone and texture of a sweet lullaby-like composition. As I age, I am feeling more sentimental and appreciative of my childhood, wishing I could turn back the clock to see my own children as little ones again. This brings me to the thought of being grateful for my life, living it to the fullest, and having two wonderful adult children who bring me light and joy, just as they did when they were little. Once again, I was moved emotionally and spiritually by these magnificent keyboards, that combination of acoustic piano and synths.

“Innocence Lost” takes on different meanings in various contexts. This, of course, depends on the listener and their own experiences, as it would apply to any music. The excellence of the solo piano is the continuous thread that weaves into a colorful patchwork quilt of music.

As I have been listening, I can hear the influence of classical music deeply steeped in the playing, and that is what makes it all so wonderful.

“Shipwrecked” takes you on a different journey and a step away from the themes you had heard previously. Although that is true, the piano remains as gorgeous as ever. The tempo moves carefully along as the synth provides a gentle backdrop. I found it surprising how calm this all sounded, given the title, which would suggest something tragic and a more robust approach. But after further contemplation, you could ponder on the ship run aground and its silence and solitude, no longer riding the ocean’s waves alive and free. This would bring a touch of sadness to any sailor (of which I am one from many years ago).

“Abandoned” is a logical progression from the previous track, inviting you to capture the essence of each track and the story it tells. The piano’s keys, regardless of the track’s title, are a testament to the artist’s ability to shape potentially tragic themes into emotional reactions. It’s a reminder that beauty can be found in the eyes and senses of those who choose to behold it.

“All of Us” closes out this piano solo instrumental recording. Looking at the title brings it all together as a cohesive whole and makes all the listeners one. Hearing all this music is for everyone. And this time, some vocals arrive in the form of a choir, giving it a spiritual, church-like feel.

Mark Barnes’ 25 brings light and joy to a dreary day. His talented fingers and compositions will engage a listener, allowing you to reflect on the past, the future, and the present, and offering hope for a new day that awaits just around the corner.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 31, 2025

Tracks:

01. Believe

02. Mary Did You Know

03. O Come O Come Emmanuel

04. We 3 Kings

05. Snowbound

06. Slumber For The Sleepers

07. Innocence Lost

08. Shipwrecked

09. Abandoned

10. All of Us

Track Feature and Interview: Monster Taxi-Japanese Onsen - Chill-New Age-Ambient Instrumental

“Japanese Onsen” is a track by Monster Taxi, the innovative creativity of Miami composer, producer, and musician Jason Klein. It was inspired by a once-in-a-lifetime trip to Japan with his son.

The video presented here is a unique blend of music and visuals that recreates a special time together. It also reminded me of watching the animated series Samurai Jack as my son was growing up, which touched a special place in my heart.

First, gaze at the cover art. It begins to form that journey in your mind’s eye and flips that internal switch to enter a different, engaging reality.

The music is not just beautiful; it’s a personal journey. The strings induce a walk through a Japanese garden of tranquility and beauty. The underlying layer of synths, where the strings float, is like a vision of yourself walking across the clouds —a dreamlike experience. The melody traces each step forward, mirroring the journey of life.

Monster Taxi has created a visual and audio diary of his trip to the Far East, giving his son and listeners a treasure to hold for eternity.

Take a few moments to immerse yourself in this multimedia short story. Watch and listen as it transports you to where it all happened —the beauty of Japan.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 21, 2025

https://www.monstertaxi.com/

In addition to electronic dance music, Jason (Monster Taxi) is heavily inspired by artists such as Vangelis, Air, Massive Attack, Khruangbin, Radiohead, and Lana Del Rey.  He is currently composing several Trip Hop, New Age, Downtempo, and Cinematic songs, of which two, Reflect and Field of Dreams, are in heavy rotation on Sirius XM’s SPA Channel and other radio and streaming programming.  He has over 1.8 million streams on Spotify and over 115 playlists in the chill, new age, trip hop, and deep house genres.

Contemporary New Age Instrumental (Classical) Review and Interview - Barry DeGroot - Unspoken Conversations

 

Release Date: October 10, 2025

Label: Independent

Website

After years of hearing this kind of music, my interpretation of it has changed into something I can express in words, but not to its fullest extent. You can only express so much with a word; however, feelings, emotions, or passing thoughts cannot always be put into proper context. I like to call it contemporary new age instrumental with a classic underpinning.

Barry DeGroot is one of those rare individuals who has captured everything I have expressed about instrumental piano music on his album Unspoken Conversations. The influence of classical music is more than apparent and a critical foundation from which every composition is born and reaches fruition.

Get ready to immerse yourself in the world of solo piano music, where each note conjures up a myriad of thoughts, images, colors, and memories. The piano’s notes are not just sounds; they are an entire orchestra within an orchestra, creating a rich listening experience.

 

“Serenity” is the perfect opening track as it moves along slowly, like a gentle stream of water bubbling up from a spring. Its notes float over your consciousness with seamless effort. It feels like the beginning of energy focused on total relaxation or a meditative state.

 

“Reminiscent” is such a prolific title. It holds a lifetime of memories. In one breath, you can say the word; however, there is an entire book to be written inside it. How can one instrument convey that kind of mindset or imagery? That is not an easy task, but Barry’s melody sufficiently captures the sentiment and the whole meaning.

 

“Clever Conversation” is a track that needs to be animated because of its implications. Conversing is what people do all over the world, and being clever is not something everyone can be. It is the longest track at 4:04 and rightly so. In the grand scheme of things, a conversation in under five minutes is short; however, in song, it goes into another category entirely. The piano’s melody and timing make it feel as if it’s speaking to you through the elegance of the musician and the sounds emanating from the keys. Hence, the meaning of the album itself!

 

“Somewhere” has a light-hearted, joyful feeling. You are neither here nor there; you are on your own somewhere where you exist in the moments of listening to this music. In between those places, it is tuneful and consistent, with abbreviated transitions alongside the main melody.

“While You’re Here,” listening to the Unspoken Conversations, there is a lot to be said via the piano’s keys. Thanks to Barry and his talented fingers, we can be reached this way. I heard a call to action in this piece even though its tempo was soft and slow, like a beautiful waltz of the fingers across the keyboard. The dance plays out in your mind’s eye.

 

“The Pendulum” swings back and forth, indicative of consistent change. That factor is present in this music. The shifting tempos add depth to the piano’s ambiance as the artist blends high and low notes, creating a sense of beauty like a ballerina dancing across the inside of your mind. She sways back and forth as the notes echo off each other.  

 

“All That Was” is now behind you in this listening experience. This will be musical expressions that you will not forget. This last track takes a slow walk and briefly picks up the pace to remind you of the power and movement of a single instrument. It is a fitting end to a marvelous exploration of the piano keys.

 

Barry DeGroot takes the singularity of the piano and broadens the scope of every note on Unspoken Conversations. This is a solo piano recording that you must hear to understand and appreciate what has been accomplished.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 27, 2025

Tracks:

1. Serenity (3:38)

2. Reminiscent (3:38)

3. Clever Conversation (4:04)

4. Somewhere (3:02)

5. While You’re Here (2:05)

6. The Pendulum (3:24)

7. All That Was (3:24)