Nod Arvefel | Vassal

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Easy Listening: Lounge Electronic: Techno Moods: Type: Instrumental
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by Nod Arvefel

Original instrumental of a celestial heart heard by an earthen vessel,pouring out on a world void of peace,joy,&hope for tomorrow, loaded w/synths,strings,sharpBrass,choirs, snappy percussions,topped w/humor,smorgasbord of wonder&delight,a must hear.
Genre: Easy Listening: Lounge
Release Date: 

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  song title
1. Ask and You Shall Receive
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3:15 $0.99
2. March Around the City
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3:33 $0.99
3. Jayanbu
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2:25 $0.99
4. Comfort One Another
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2:42 $0.99
5. Yoo Hoo, Boo Hoo March
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3:15 $0.99
6. Left Behind
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3:43 $0.99
7. My Child, There's No Goodbyes
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3:59 $0.99
8. Rapture Rabbit
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2:44 $0.99
9. We Gotta Get Out of Here
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2:56 $0.99
10. Jesus, You Are the Glory
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4:16 $0.99
11. Glory to Him
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3:41 $0.99
12. Draw Me Into Your Presence
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3:11 $0.99
13. They Call It Love
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2:58 $0.99
14. Kate
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3:26 $0.99
15. Only
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4:52 $0.99
16. Blessed Art Thou, O Israel
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3:48 $0.99
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Album Notes

As long as I can remember music was always a part of my life. I was influenced at an early age by the songs I heard on the radio. Every now and then Dad would break out his harmonica and play a few tunes from the past. The era of radio tunes gave way to the visual of television. Now I could see the faces, full bodied, belt out the music that captured my heart.

I have often wondered what composers were thinking when they wrote their masterpieces or what it was that influenced them to pour their heart and soul into their music. I believe that everyone is a little tune that the world needs to hear. Vassal is a collection of gifts. One may think they are listening to songs, but in all reality, they are gifts . . . special delivery via the Holy Spirit. Many a time I would stand at the keyboard and diddle on the keys. The next thing I knew I was playing the most beautiful and unusual music in the world.

I have no formal music education or musical degrees. In the sixth grade, I tried to take a shortcut on a music test . . . by cheating. The music teacher pronounced a curse on me by barring me from ever participating in any Fort Wayne, Indiana public school band or ever having public instruction to learn to play an instrument.

My musical journey began with learning to play guitar by ear. Down the road awaited many rock bands, in which I was to play for a season or two. This led to the nightclub and bar scene and all the sins associated with the nightlife. I was sowing the wind not knowing that the whirlwind was right on my doorstep waiting to claim my marriage and children.

As a band musician I actually believed that I was a someone in the eyes of the world. That concept bit the dust one night at the closing of a gig. Before the band could finish the last song, someone reconnected the power to a jukebox. As its mechanical melody drowned out the fading notes of our last song, I got a reality check of who I was. The lingering audience never noticed the change and continued with their partying. I was amazed, yet saddened, by what I saw. I was a nobody, without someone to play to. This incident, coupled with my getting saved, led me to quit the band and the club scene.

Thus began the long journey to “sainthood.” Little did I know that I would have to go through hell and have to die to self to get there. Playing in sin bins on Saturday night, then going to church on Sunday, posed an internal conflict. I had to make a choice. I chose to serve Christ. That brought up another problem . . . musically, I didn’t know how to serve Christ. I once told God that I didn’t know how to write Christian music . . . I mean, “How does one improve on ‘How Great Thou Art’?”

God spoke to me and said, “There will be a time when people will not go to church or read a bible, or trust pastors or priests, but they will still identify with music. You will write message music.”

Not only has God gifted me with being a lyricist, but an arranger as well. In his great mercy for my lack of ability, he provided one of the most beautiful keyboards ever made. One year after I bought that keyboard, the man who designed it died. I have one of the last models ever made. God gave me these gifts and the joy of music to share with the world. Go ahead, world . . . enjoy!


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Whatzup Magazine (Heartland Art, Entertainment & Recreation) by

It seems there’s no stopping Nod Arvefel. Just last summer his debut album, Messenger, graced its way across my ears. A few months after that came Rescue Mission Man. Then, seemingly one month later, Joe Factory arrived, with Vassal hot in its heels. In the time it took me to work Vassal into my review cycle 4th Man in The Fire showed up. That’s five albums in a year, folks.

Nod is amazingly consistent, so if you like one of his albums there’s a good chance that you’ll be dipping into your savings on a regular basis to complete your collection. As with past albums, Nod writes, plays and arranges everything on the album, channeling his musical fervor through the wonders of MIDI. These well performed sonic delights are taken to Monastic Chambers, where he records vocals for the finishing touch.

For Vassal, however, Nod decided to forgo the vocals and release an instrumental album. In doing so he took over half the tracks from previous releases and stripped off the vocals. Yes indeed, this means that dedicated fans can now host their own Nod Arvefel karaoke party, singing favorites such as “Ask And You Shall Receive” with its peppy, memorable horn melody, “My Child, There’s No Goodbyes,” “Only,” “Blessed Art Thou, O Israel” and the disco beat of “March Around The City."

Instead of retreading songs on his vocal albums I’ll concentrate on the new songs, my favorite of which is “Rapture Rabbit.” Not only does this song open with a great programmed drum riff that quickly resorts to cowbell, but it has a playful rock edge with plenty of slap bass and a dazzling organ solo. “We Gotta Get Out Of Here” and “Left Behind” are two other rapture-themed songs, the former with a massive field of percussive rhythms, the latter a weepy, mournful melody with sweeping angelic strings and acoustic guitar that just screams for vocals. A clarinet-horn sound builds a somber melody upon a choir and string foundation in “Draw Me Into Your Presence” while “Kate” flips the mood in the opposite direction, joyfully constructing a sweeping melody played by 80s synth sounds over a pulsing, energetic bass beat. Two other songs, “Comfort One Another” and “Yoo Joo, Boo Hoo March” work in Hawaiian and reggae themes complete with steel drums and slide guitars.

While I admit that the lack of lyrics leaves a bit of a hole in the music, their absence also allows the melodies, arrangements and tones to come to the forefront, opening the way for greater appreciation of the many talents of their composer. Chalk up another “Hoo boy!” for Nod Arvefel and his amazingly prolific ability to fuse together rhythm and melody.

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