‘When Shadows Talk’ offers musical storytelling that explores inward and outward reflection. Many of the pieces are about my creative process as an artist and bring to life behind-the-scenes workings of what it takes to dig deep enough to find valuable conversations.

Sandrayati Fay embarks on a musical journey that intertwines the ethereal with the deeply personal. Born to activist parents and raised in the lush landscapes of Indonesia, she now calls Reykjavík home. Her unique sound—described often as a blend of ethereal folk, indie-pop, and ambient textures—celebrates themes of identity, migration, and indigenous rights, intricately woven into her lyrics. One could say her upbringing was steeped in a sense of purpose; a certain weight of expectation, perhaps, but she has transformed it into art.

After a decade of performing with several of Salt Lake City's best known artists and having appeared on more than a dozen award winning albums, cellist Steven Sharp Nelson, moves into the spotlight with his first CD, released on the Stone Angel Music label created in 1999 by pianist Paul Cardall. Steven Sharp Nelson's Sacred Cello is produced by Paul Cardall and features classical arrangements of popular tunes like Clair De Lune by Debussy, Rachmoninav's Rhapsody on a Theme of Paganini, The Water is Wide, Bach's Cello Suite, Chorale, and many more. Several songs feature some of the artists Nelson has worked with previously including Peter Breinholt, Jon Schmidt, David Tolk, Marshall McDonald, and Paul Cardall. Steven Sharp Nelson began developing his musical talents at a very early age.

For many of you, your first exposure to this unique cello percussionist may have been courtesy of the energetic Piano Guys who present their very unique interpretations on many of today’s contemporary songs. However, when not arranging and recording with pianist Jon Schmidt in the previously mentioned group, cellist Steven Sharp Nelson has been busy creating three of his own inspiring solo albums. Grace: A Sacred Cello Collection as the title suggests brings these recordings among with a few other surprises under one roof.

Mandara of Buddhist Paradise is a live concert album and multimedia project by the Japanese New Age/synthesizer group Himekami, led by Yoshiki Hoshi. Released in July 2025, the album captures a performance at the Motsuji Temple in Hiraizumi, a UNESCO World Heritage site known for its historic "Pure Land" paradise garden.

Hiraizumi Reminiscence (平泉追憶) is an album by the Japanese New Age musical group Himekami, released on June 29, 2025. Produced and composed by Yoshiki Hoshi—the son of the group's founder, Yoshiaki Hoshi—the album draws inspiration from the serene and historical atmosphere of Hiraizumi, a UNESCO World Heritage site in Japan.

This event commemorates the 1250th anniversary of the birth of Kobo Daishi (Kukai), a revered Japanese Buddhist monk who founded the Shingon sect of Buddhism. Kobo Daishi is a significant figure in Japanese history, known for bringing back wisdom and cultural practices from the Tang Dynasty to Japan. His teachings and the spiritual practices he established, such as the famous 88-temple pilgrimage in Shikoku, continue to influence Japanese society to this day.

Gaia Onbashira is a musical exploration of respect and how it relates to ancient traditions. Gaia loosely translates to Goddess of the Earth or Mother Earth and Onbashira is a festival that occurs every seven years in Japan. During the Onbashira festival, eight individuals are chosen for spiritually cleansing. The participants ascend a mountain and attempt to spiritually connect with the heavens through the trees. These trees are then allowed to fall down the mountain and eventually become posts and the foundation of a ceremonial shrine. Through these events, these individuals learn to become more in touch with their spirits.

Channeling new age and spiritual jazz, the multidisciplinary artist’s debut solo album creates its own thoughtful and potent world with the help of many guests and many flutes.

I decided to record a new solo album for the hurdy-gurdy because there was simply a need for it. After concerts, I increasingly heard questions about music in this format—the hurdy-gurdy on its own, without an ensemble or additional instruments. This album is a response to those conversations. I realized that I could create unique, new music on this extraordinary instrument. My search for an innovative sound required the use of electronics.

This recording, which can justifiably be described as "new age" in the most essential sense, represents a radical new approach to the versatile and cosmic instrument of the steel guitar. This is something new under the sun, a total reinvention of an iconic instrument. Quite literally, there has never been anything else quite like it. All of the sounds heard on this album were made with a 1967 Emmons Push/Pull pedal steel guitar by Luke Schneider, a popular session musician in Nashville, Tennessee. Luke has been an important band member for artists such as William Tyler, Caitlin Rose, Margo Price, and Orville Peck.

Ever wondered how ancient spiritual wisdom could resonate on modern global stages? The answer lies in an extraordinary musical journey that began at the sacred confluence of three holy rivers. Sounds of Kumbha represents far more than just another album release. Moreover, it embodies a revolutionary fusion of India’s deepest spiritual traditions with contemporary global artistry. Furthermore, this groundbreaking project has captured the attention of Grammy voters worldwide. Additionally, the album showcases how customer experience principles apply even to spiritual music ventures.

Electric guitar, drums, voice and Hardanger fiddle collide in a fierce, cinematic search for a unique expression.

here are so many instrumental combinations that artists use to create ambient soundscapes. Some work, some don’t. Some create credible music that works, some turn into vapid, new-age-like aural wallpapers. And that does not necessarily depend on the combination of instruments but on the inventiveness of the artists involved and their ability to transform that into music that actually resonates with the listeners, instead of just creating an aural background. Being Grammy-nominated doesn’t necessarily have to be a good sign, but both Manu Delago (handpan) and Max ZT (hammered dulcimer) not only have Grammy nominations but are recognised as innovators, able to use their instruments to create intriguing music, as they do here on their joint effort titled Deuce.

Loreena McKennitt is in her element in front of an audience, telling interesting stories about the songs and assembling a topnotch backing band. This is her first live release available to the public, and uses material from three concerts (one from Paris and two from Toronto) to put together a complete show. As with The Book of Secrets tour, the first half is The Book of Secrets in its entirety, arranged in the same order as the studio CD.