Corciolli | The Astral City

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New Age: Contemporary Instrumental New Age: Spiritual Moods: Spiritual
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The Astral City

by Corciolli

Corciolli continues to express his fondness for spiritual themes in “The Astral City” by using the universal language of music to call forth feelings of beauty and everlasting knowledge.
Genre: New Age: Contemporary Instrumental
Release Date: 

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  Song Share Time Download
1. Realidade Eterna (Eternal Reality)
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1:15 album only
2. Flor Da Esperença ( Flower of Hope)
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3:47 album only
3. Bosque Das Águas (Water Park)
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6:13 album only
4. Coração Invisível (Invisible Heart)
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4:23 album only
5. Novo Mundo (New World)
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5:16 album only
6. Passagem (Passage)
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1:46 album only
7. Infinito (Infinity)
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3:30 album only
8. Rio Azul (Blue River)
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5:35 album only
9. Campo Das Lembranças (Field of Memories)
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3:40 album only
10. O Sonho (The Dream)
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2:56 album only
11. Névoa (Misty)
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3:22 album only
12. Sob as Estrelas (Under the Stars)
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4:23 album only
13. Crepúsculo (Twilight)
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0:38 album only
14. Sempre (Always)
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5:03 album only


Album Notes
The Astral City (Nosso Lar) (2008) IMPORT (Brazil)
Music from the spiritual dwelling.

Piano, synthesizers and samplers: Corciolli
Violins: Alexey Chashnikov, Elina Suris, Heitor Hideo Fujinami, Lev Veksler, Svetlana Tereshkova, Tatiana Vinogradova
Cellos: Heloisa Torres Meirelles, Kirill Bogatyrev

Inspired by the spiritualist best-seller "Nosso Lar"

DailyOm Review January 22, 2009
Nosso Lar (The Astral City)
Corciolli is a Brazilian musician and composer who has recorded with artists ranging from Tibetan Monks to composers like Hans Zimmer and popular-classical types like Placido Domingo. His work brazenly mixes genres and conventions, unafraid to add western operatic sweep to eastern New Age ambience and vice versa. Nosso Lar ("The Astral City") is based on the book of the same name by Francisco Cândido Xavier, which describes souls and their journey to the afterlife. Corciolli helps take you there with an album full of mystical bliss and possibilities for transcendent visualization. Playing an array of synthesizers offset by quietly melancholic acoustic piano, Corciolli is a symphony unto himself. Here, he is accompanied by a string ensemble, however, and the arrangements are brilliant, aiding and enhancing Corciolli's positions—as in the beautiful "Bosque das Aguas"—without overstating or resorting to bombast. Orchestral sweep mixes comfortably with ethereal synthesizer tonalities, and a perfect blend of dynamics keeps things from ever getting too dense or too minimal. This "Astral City" is a miracle of architectural construction (which makes sense, since Corciolli originally studied design), with lots to catch the ear and soak up the senses without the soundscape ever becoming busy or overcrowded.

In "Novo Mundo" soothing piano keys expand and contract to form pulsing bell-tones, a dreamy, hazy reverie of synthesizers and arpeggio piano-notes that drift in the mind like lazy smoke rings. This compares nicely to more solo-based work, like the mix of gentle acoustic-piano arpeggios and cascading synthesizer-pads that close the album ("Sempre").

Throughout Nosso Lar one is continually reminded of other melodies, other artists, all just flashes of recognition before they disappear back into the pleasant haze. Corciolli is clearly the sort of inspired musician who absorbs and incorporates nearly everything he hears. When he's able to boil all of it down into such simple beauty as he does here, adding so much sincere, heartfelt love to a simple array of electronic and acoustic sounds, you realize what a gift it is to be able to be a part of it. What better honor than to have your place in the pantheon of Nosso Lar, an astral city so large and inviting that there's plenty of room for all.


to write a review

Bruce Gall, "Synth Heaven" & "Sunday Synth",Dundee, Scotland

"I've just heard the Corciolli album in its entirety and it honestly is a wonderful album. Very moving. Beautiful."

Simply Gorgeous
Reviewed by Bill Binkelman on 3/14/2009
Corciolli's Nosso Lar (i.e. The Astral City and the recording is based on a book of the same title) is a simply gorgeous album with lovely flowing piano melodies, lush orchestrations, and featuring a variety of electronic keyboard sounds that harken back to the golden era of the new age music genre (shimmering bell tones, plucked strings, et al.). Partly neo-classical in feel (think Vangelis' best work from his mid-period) and sometimes closer to earlier artists like Robert Haig Coxon or Ray Lynch, Nosso Lar needs to be at the top of your list for additions to your collection if you enjoy warm engaging piano-keyboard/orchestral music that never over-reaches into bombast or melodrama but instead weaves a subtler web of beguiling grace and charm.

After the brief prologue piece Realidade Eterna, (clever use of theremin-like sounds here with swelling orchestral strings), soft piano with shadings of melancholy, ethereal synth pads and shimmering bell trees signal the start of Flor De Esperanca. Corciolli is a master at layering all his sounds into the mix, with an almost uncanny ability to allow the assorted components to softly float into the track's foreground and then transition backward, allowing another instrumental sound to take over. In addition, his choice of keyboards and synthesizers is absolutely first-rate. I can see why he is so highly praised in his native country of Brazil.

Lush orchestral strings open Bosque Das Aguas alongside of angelic chorals, both of which ebb and flow with an organic naturalness. It's on a song like this that many artists tend to flip the "overkill" switch and dial in bombastic flourishes, overwhelming the listener. Corciolli's seems to know exactly where the "edge" is and sits right there without going over it. Well done! Vangelis fans should certainly resonate to the opening of Coracao Invisivel owing to the presence of plucked harp and string orchestrations eventually yielding to a more straight-up classical blend of piano and strings. Infinito casts a much quieter shadow as the song features only piano and a soft brushing of synthesizers. It stands in contrast to the sunny and cheery Rio Azul, a track with a breezy lighter-than-air feel, resplendent with piano and lots of twinkling shimmering synthesizer effects.

The overriding melodic evocation one takes from Nosso Lar is probably a romantic neo-classical one. However, that doesn’t mean there aren't other influences on the CD, ranging from spacemusic to angelic new age music. Yet, the abundance of flowing piano and sweeping neo-classical string orchestrations, usually framed within a major, not minor, tonality framework (there are only a few brief forays into melancholy and none into darkness), really places the heart and soul of this album in, well, the heart and soul of the human condition. If you’re unaffected by the achingly pretty closing track, Sempre, you need to lighten up and smell the roses, friend.

It's great that Corciolli now has US-based distribution through WorldSound Productions as this is one artist who should find legions of fans here in this country, and I am definitely one of them. Nosso Lar tugs at my heartstrings with effortless beauty and sincerity, never manipulative and always sincere. Highly recommended!