Like a mix between Yanni, and Patrick O'Hearn. Phil Herschel's 2nd album 'Grand Entrance' is a powerful blend of instrumentals set to the sound of uplifting beats, and tunes. These 12 compositions use a catchy mix of electric guitars, fanfare-like instrumentals, and percussive textures.
Phil Herschel has been entertaining for over 15 years, on the electronic keyboard, with a style of play often compared to Yanni, and Patrick O'Hearn.
Visit Phil Herschel on the web for more information, www.todaysmusic.com
"Good Times" - street-corner funk swaying down the avenue amidst synth horns, wah-wah guitar, and kinetic beats and oh-so-heavy bassy synth notes.
"Power Pulse" - opens with various echoed minor key synths accompanied by piano chords. The song is a blend of power and mystery as a snaky keyboard takes up the lead melody and then yields to a strident horn patch.
"Grand Entrance" - The title cut dials up the drama several more notches, with thundering tom toms and soaring synth strings, along with other percussive textures. The song has a certain instrumental prog rock feeling to it, mostly due to the rhythm section.
"One Day" - like a blend of Patrick O'Hearn and Kudzu. "One Day" unites arrhythmic ethnic percussion with keyboard washes to paint a primal/tribal soundscape.
"Western Drums" - has some Native American textures courtesy of the hand drum opening.
"Victory" - triumphant fanfare-like instrumentals start powerfully, get a tad subdued, and then begin revving up again.
"Uncharted" - an appropriately eerie EM number, a little like the music from Robyn Miller's 'Riven' soundtrack, but less shadowy.
"Carry Away" - begins as the "spaciest" and most overt EM track on the CD, full of twinkling synths, soaring washes of keyboards, and a sense of cruising the bywaters of the cosmos, but morphs into a new age treatise on flute and guitar.
"Water Dance" - is another high-energy blast of EM, including some background Berlin school textures with the cascading synth keyboard running flit over the percussion.
"Until Then" - closes the album with a somber, low-key, and somewhat reflective piece combining a mixture of minor key synths, quasi-tribal rhythms, and haunting melodies.
-by Bill Binkelman