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Review by Bill Binkelman Here are two markedly different (well, relatively speaking) albums from one of the best new age music/relaxation music artists recording today. I've been a fan of Llewellyn's music for six or seven years now and his recordings always impress me from both technical (superb instrumentation, production and engineering) and artistic standpoints. He has few equals when it comes to composing and performing beautiful electronic keyboard music that embodies the best qualities of contemporary new age and healing music. Journey To Our Dreams is a long form quasi-ambient release (provided you believe ambient music can be warm and friendly in musical characteristic, e.g. similar to Jonn Serrie's more lush and romantic pieces) while Mysts of Avalon has shorter tracks with more variety between them and a "chill-out meets new age" feel to the music, owing to catchy rhythms and some uptempo tunes. Both of them demonstrate the artist's attention to detail in selecting keyboard and rhythm sounds, as well as illustrating how he crafts enveloping melodies that can invigorate and entertain as well as soothe and comfort. Journey To Our Dreams is simply wonderful, with four tracks averaging between ten and fourteen minutes in length, consisting of layer upon layer of synthesizers and echoed piano, as well as muted sequenced pulses that imparts a gentle unforced rhythm at times. The music floats, twinkles, shimmers, and washes over you in wave after wave of serene tones, textures, chords, and notes. While each track is separate and distinct, I think the album plays almost like a long-form ambient recording equally well. The music may not be "minimal" as most ambient fans would define it, but it's restrained when compared to many other CDs in the new age genre. From the gentle billowing (almost spacemusic-like) of "Breathing" you're transported to the hushed Liquid Mind-like chorales and strings of "Floating" (both tracks also contain sequenced synth pulses, almost Berlin-esque in character but more subdued). "Journey" is even spacier than "Breathing" with wavering synths and patient washes that evoke the vastness of the cosmos while "Dream" returns to Earth amidst new age music stylings that remind me of fantasy-themed recordings, both from Llewellyn and other artists. There is a haunting yet beautiful nature to this song, as if one were walking through an enchanted forest. Different instruments are present than previous selections, e.g. flutes and reverberating bells, and the piano is absent replaced by even more layers of keyboards. In contrast, Mysts of Avalon, which is inspired by the mythology of the UK and tales of Gods, Druids, and characters from ancient British folklore, is a much more lively and structured (with repeated refrains and shorter tracks) recording. In addition, Llewellyn is joined on the CD by wife Juliana (she of the heavenly vocals), Chris Conway on Celtic flutes, Lorraine Wyse on Celtic whistles, and Kevin Kendle on keyboards. Llewellyn is credited with "all instruments" and vocals. Mysts of Avalon is chock full of memorable melodies that evocatively convey a sense of magic, mystery, beauty and a world draped in ages old history, yet Llewellyn and company accomplish this while still adding contemporary twists that combine new age pop and chill-out elements to the neo-Celtic flavors. From the opening "Silver Moon Winds" which showcases Juliana's angelic wordless vocals, which are carried along by waves of strings, echoed piano, feathery synths, and subtle percussion, we move on to "Merlyn and the Crossing" a more dramatic and less jubilant piece, with wafting Celtic whistle, sampled frame drums, and delicate plucked synth harp, and a smooth chill-out contemporary beat and feel. "The Summerlands" evokes the Highlands, with sampled pipes at the opening, folding in harpsichord and lush Juliana chorales set against a jaunty rural rhythm. Echoed piano continues the lovely feeling of rolling hills, sunny skies, and an overall sense of well-being. "The Dragon's Breath" is, of course, appropriately haunting and darker in nature, although not scary at all. Steady contemporary beats percolate underneath harp, piano, synth textures and dramatic swells of strings. "The Calling" features Juliana singing straight-up vocals, multi-tracked a la Enya/McKennitt, in a slow sensuous ballad accompanied by piano, strings, plucked guitar, and keyboards. For my money, Juliana's voice is the equal of anyone else's in new age music. "The Crystal Castle" shimmers on a distant hill, amidst synths, Celtic flute, strings, bell trees, twinkling tones, and chorales. The album closes with "Seeking the Candle" which reprises the musical themes of the first track ("Silver Moon Woods") but less dramatically and with an air of conclusion and finality at the conclusion with a more pronounced crescendo effect. According to his website, Llewellyn has released forty albums! What a discography! While I've only reviewed, I think, a half dozen or so of his works so far, I'd still bet good money that all this man's music is worth hearing. Based on these two releases, he isn't even close to running out of steam yet. Ambient-philes and spacemusic lovers who aren't afraid of optimistic warm electronic keyboards are strongly encouraged to give Journey To Our Dreams a look-see, and long-time fans of Llewellyn (or first-timers, for that matter) who enjoy catchy new age instrumental (and occasional vocal) music with some wonderful Celtic and mystical/magical elements added in the mix should enjoy the many delights of Mysts of Avalon. Or, you could do the smart thing and buy both of these recordings! |
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