"With a middle eastern vocals and instruments backed by a western orchestral sound, its difficult to to pigeon-hole Forgotten Voices stylistically. Yes, there are orchestral elements, even choral, but it is not a "classical" album per se as both orchestra and choir are both in a supporting rather than featured role. Yes, there are world elements, but despite the middle eastern instruments and vocals, it probably would not go into the "world" bin. It definitely would not go into an "electronic" category despite the subtle use of Lyle Mays-like textures. Its too dynamic and involved for New Age or ambient music, although it is an album with smooth edges that flows within those dynamics without abrupt changes.
If I had to apply a subtitle to the album it would be "we aren't THAT different, can we just get along?". The title track perhaps illustrates this theme most completely. The spoken and sung parts are, upon closer listen, a combination of middle eastern languages: Aramaic, Hebrew, Arabic..., but I think the apparent homogeneneity is the point. The texts are often prayers, often very similar in sound, something that points to the common thread between peoples at odds who focus perhaps a bit too much on differences.
The album ends with an exchange, or perhaps more accurately an interweaving, of Islamic, Jewish, and Christian prayers that not only sit comfortable with each other, but all seem to be asking for the same thing: peace and compassion. Forgotten Voices isn't a religious album. The focus is on the source rather than destination of these prayers. Despite the solemn, even dark at times feel, it is an album of hope, a hope that those forgotten voices, both in the middle east and worldwide, be remembered."