As a new music reviewer I am confronted with all sorts of music on a daily basis. It all jostles for your attention just as it will for the music buyers money and does so by using all manner of clever ploys and sonic gimmickry. But sometimes you are presented with music which is just so pure, so beautiful in its natural state that you stop and realise that some times the simple things in life are the most rewarding. And so it is with Rebirth. Not that anything on this piano-led album of instrumentals is in any way simple in its execution, but there is certainly an unadorned charm and understated grace to the music being presented here.
It’s sometimes hard to find words or genres which sum things neatly up, neo-classical, ambient, new-age, cinematic, soundtrackesque all go some way but none fully captures what is on display here. Heading To Dreamland is the perfect example of the album’s easy charms, a blend of gently cascading notes and sweeping strings, both soothing and haunting, a lullaby seemingly both wistful and reflective and as a centrepiece of sorts the music spreads out from there. Beto is built of urgent strings over a more understated piano line, Beautiful Rose revels in the simple beauty of the main instrument itself (though a second version with additional strings makes for a beautifully sweeping arrangement) and Silent Tears is spacious and strident in equal measure. The title track is a gorgeous wash of delicacy, like the movement of clear waters on the shore, shifting, changing, fluid yet part of a greater whole, fragile yet indestructible.
It is difficult to review such music in the way that I do pop and rock music for this is everything that those genres aren’t. It isn’t bombastic, it doesn’t follow obvious tried and tested templates, it does not use gimmicks or distract you with shiny sonics, this is heartfelt music made for all the right reasons, composition rather than con, passion driven rather than money grabbing. And as such it is gloriously pure, untarnished by the hand of the industry.
And like all great instrumental music it tells its story through moods and emotion rather than lyric and rhyme and as such you find yourself not following surface words but immersing yourself so that the music can give up its message via osmosis. It is music to be absorbed rather than listened too, to cocoon yourself in rather than be merely heard. When was the last time you felt like you needed to approach a pop record with such consideration? Never, I’m betting.