Peter Sterling | The Sands of Time

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New Age: Celtic New Age Jazz: World Fusion Moods: Mood: Dreamy
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The Sands of Time

by Peter Sterling

Sparkling Electric harp blended with an array of world instruments creating a unique fusion of Celtic, Asian , East Indian and contemporary instrumental sounds. Perfect for yoga,massage or anything to do with Love and Romance.
Genre: New Age: Celtic New Age
Release Date: 

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Tracks

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1. Forever and a Day
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7:15 album only
2. Come With Me
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4:42 album only
3. Pirouette
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2:53 album only
4. Ever After
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4:22 album only
5. Sea of Dreams
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6:22 album only
6. To the Moon and Back
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5:40 album only
7. 10,000 Nights
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6:10 album only
8. The Mystic and the Master
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4:17 album only
9. Arc of the Angels
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4:45 album only
10. The Distant Shore
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5:46 album only
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ABOUT THIS ALBUM


Album Notes
\"The Sands of Time\" is Peter Sterling\'s eighth release in a long
line of beautifully orchestrated cd\'s which have touched the
hearts and souls of thousands around the world. Once again, Peter
takes us on a cross cultural global journey as he fuses a wide
array of world instruments with his signature sparkling electric
harp sound,into a unique composition of world fusion music.
Elements of Celtic, Middle Eastern, and Asian styles are
masterfully blended with contemporary instrumental sounds and
textures creating a unique sonic alchemy that is sure to open the heart and create beautiful imagery in the mind\'s eye of the listener. Peter is
supported by an all-star cast of some of New Age music\'s most
shining luminaries including Bruce Becvar on guitar, Larissa
Stow on vocals and Kim Water\'s and Han\'s Christian from \"Rasa\"
on Sarangi and vocals to name a few. Sometimes bold and dynamic,
and other times passionate and romantic, \"The Sands of time\" is
sure to require multiple plays for one\'s listening enjoyment!
Excellent for massage, yoga and anything to do with love and romance!


Reviews


to write a review

Bill Binkelman/ music reviewer

Nice music!
I've not heard all nine of harpist Peter Sterling's albums, but of the ones I have heard, The Sands of Time is my favorite. Ten tracks that veer from gently rhythmic chill-out (yeah, chill-out harp, how about that!) to world fusion influenced musical excursions to classically influenced romantic odes to serene new age/ambient-ish soundscapes. Besides his harp, Sterling plays keyboards (and they are perfectly blended in throughout the album, too), recorder, hammer dulcimer and adds some vocals, too. Sterling enlists some top notch talent to join him as well, including Richard Hardy on flute and penny whistle, Bruce BecVar on guitar and Brian BecVar on piano and keyboards (other accompanists contribute on guitar, bass, tabla, Bansuri, violin, cello, congas, and percussion). Cover art is likewise good, making this an all-around entertaining and solid album (engineering and production by Sterling is very good, and he mixed the album with the assistance of Gary Barlough - well done, mates!).

The seven-plus minute Forever and a Day is the aforementioned "chill-out harp" track and it's a beaut to open the CD with, featuring a slow tempo shuffling "skitch" beat, lovely lead harp melody, and just the right amount of flowing keyboard textures, as well as guitar accompaniment from Fitz Hugh-Jenkins and subdued bass by Deaon Estes. Come With Me continues on with the same beat (tempo and style) but accents it with East Indian flavor by incorporating tabla, Bansuri flute (played by the artist Manose), and subtle tamboura drones. The confluence of ethnic spice with the slow tempo chillage makes for an interesting hybrid. Ever After shoots for a more classical/Renaissance-era feel, the melody is low key and Hardy's flute is joined by Hans Christian's cello, while Sea of Dreams invites comparison to Deuter's more active music (including the inclusion of some nature sound effects), and again some classical influence (mostly a waltz-like sense of grace-in-movement) is hinted at via both the cello and BecVar's "additional orchestration" as well as Sterling's playing itself. To the Moon and Back dials up the energy a bit, and throws in a dash of tropical spice too! Bruce BecVar spins out some tasty guitar licks, Rapheal Padilla beats out a sassy sensual rhythm on bongos, and wordless vocals by Sterling complete the breezy palm-trees-in-the-sun midtempo evocation. The Mystic and the Master is appropriately, well, mystical (actually reminding me a little of the Braheny/Clark release, The Spell, although featuring more acoustic instruments than the latter did). Arc of the Angels surprises when, after the first half of the track's "typical" chorals, piano and celestial harp, trap kit drums (really well mixed in as more subdued than is usually the case - boy, I wish other artists learned this trick) enter the song and impart some unexpected dramatic emphasis as the cut spins a more contemporary web (but never to the song's detriment). Sterling goes solo (playing harp and keyboards) on the album's last cut, The Distant Shore, certainly the most soothing piece here - a nearly six-minute slice of minimal crystalline harp and assorted layers of synthesizers. It's a satisfying and fitting close to a highly enjoyable album.

Filled with exemplary musicianship by Sterling and all the guest artists, The Sands of Time reveals a depth and maturity which has evolved within this talented harpist as a composer, performer and producer (Sterling did a great job considering the large number of accompanists). His label is called "Harp Magic" and that's what awaits the listener on this solidly recommended release. Once you start playing The Sands of Time, you'll be hoping they don't run out too soon. Of course, that's what the "repeat" button is for on CD players, right?


Rating: Very Good


- reviewed by Bill Binkelman on 4/25/2009