Neoclassical Suite is a column that will present 7 recent, distinctive tracks of the neoclassical-modern classical-contemporary -and beyond!- music field.
Wavescapes is a collaboration between Amsterdam based producers Len van de Laak and Tim Barning. After making their mark in the Dutch music business and working together in various projects, they wrote their first track ‘Circe’ as a soundtrack to a short movie. Though the movie never saw it’s release, Len and Tim saw potential in continuing their collaboration, and Wavescapes was born. Their strength and passion lies in creating sonic landscapes that colourfully evolve as their music unfolds, and reach deep into the listener. A complete album of organic, electronic cinematic music followed.
Wavescapes’ music has been used in various tv programmes and in September 2019 their tracks Circe and Kaleidoscope were used to promote Hugo Boss’ Spring/Summer 2020 Fashion Show in Milan.
Currents is Wavescapes’ freshly newborn brainchild. It is a colourful six track EP that follows up their self-titled debut album. Currents is all about flow and movement, about taking journeys – physically as well as mentally.
John Bickerton is a composer and pianist with a background in both classical composition and jazz improvisation. His latest release is entitled “Heartland” – 18 solo piano pieces in a variety of styles – neo-classical, atmospheric piano, compositional ambient, jazz, blues, gospel, soundtrack.
Magnus John Anderson
Magnus describes his debut as a form of homecoming after having helped several others to reach success over the course of many years. The road back has taken him through the role of recording technician and mixer for Benny Andersson at Mono Music Studio on Skeppsholmen (Stockholm) for artists such as Celine Dion, Westlife, Britney Spears and Backstreet Boys, to name but a few.
He has secured top chart positions in Japan (Pokemon 15), the USA (Clay Aiken), and on the World Album Chart (Super Junior); he has worked on film soundtracks (Songs from the Second Floor and As it Is in Heaven); and he has been the technician and mixer on a Grammy-winning album (Folk Music in Swedish with Åsa Jinder).
In 2011, he moved to the Mitte neighbourhood in Berlin to pursue a dream project – building his own studio comprised entirely of analogue keyboard instruments. He worked on film and advertising music at the same time. Today, he commutes between the German capital and Stockholm where he also works as an acoustician.
“As a twenty-year-old, I wrote a great many piano pieces and composed music for string quarters and choirs, but I never quite took that step to becoming an artist myself. Instead, I wrote music for others. Thanks to my wife and Berlin, that dream has been awoken in me once more and I have now returned to my roots,” says Magnus John Anderson who is inspired by other pianists such as Nils Frahm and Dustin O’Halloran who both work and perform in Berlin.
As an artist in his own right, he has turned his back on the pursuit of chart toppers and instead given himself over to stripped-back and melodic piano music with a light touch of French melancholy.
(modern classical, jazz)
Roman Wróblewski – pianist, singer and music producer.
Wróblewski’s music is a mixture of jazz improvisation with a classical touch, emotional yet thoroughly conceptual.
…near to Debussy, Einaudi and Frahm…
(neoclassical, solo piano)
Raphaël Novarina is a French composer and Pianist born in Paris in 1980. He composes mainly for the contemporary classical piano. But also works on collaborative projects in various musical styles. He also manages an “easy listening” music label.
(neoclassical, contemporary music)
Jacco Wynia – Composer/Pianist – born April 17th, 1989, the Netherlands. Jacco wants to share the powerful effect he perceives in his music, wishing that more people can find joy, hope and peace through it. After doing a range of big performances, Jacco found out that for him playing in an intimate setting was the most touching experience. He realized this when playing a lay-down-concert for elderly people in later stages of dementia. The response was so intense and the atmosphere was one of connecting with each other in both tears and laughter, being freed by the power of music. This inspired to go more and more for an intimate sound and to create settings to connect with the listeners. This way of making music a personal communication medium is how Jacco wishes to continue and grow. So that more people experience the sheer joy of the music, and this connection with the listener will inspire the music in return. Inspiration comes from friendships, nature, challenges, love.
(neoclassical, downtempo, cinematic)
It is the year 2020 and times have changed. It’s the post-cinematic age – at least for me. Music was and is my main drive, but I needed time to reflect and refocus. So when this virus entered the building, I decided to upgrade my home studio and do what I like best: telling stories.
But first: let me tell you a short story about myself. I started making music in the nineties. Briskey became my musical alter ego, and the first release was Cucumber Lodge in 2003. I put together a live band with splendid musicians as Bart Maris, Isolde Lasoen, Nicolas Roseeuw, Dorona Alberti,… We played a lot of gigs at home and abroad. Playing live had an important influence on the next records. The music became less loungy and more organic. Eventually I even put together a 14-piece band: the Briskey Big Band.
Before-during-after (2009) was a turning point. Although it was still released under the moniker of Briskey, it was totally different. No more frivolous latin-beats or old jazz samples. The sound became darker, slower, more melancholic and cinematic. before-during-after was like a soundtrack for a movie that has yet to be released.
And then things changed. I moved from the city to the countryside, finished my PhD and started a brewery. So much to do, so little time. The lockdown put a hold on a lot of things, but it gave me time. It was the perfect moment for reflection and looking at things from a new perspective. Literally locking myself up in my home studio, I discovered the endless possibilities of musical software and virtual instruments. I decided I would do everything myself. Making a record from a to z: from composing to mastering. So here it is: HEIS.
I call it ‘post-cinematic’ music. It’s all about atmosphere, combined with elements of neo classical, dark jazz, downtempo electronica and post rock/industrial. But in the end it’s cinematic: I tell stories, and take you from one place to another.
This is my movie. Enjoy the view.