Om Mare Shangri-La by Karen Salicath Jamali

Karen Salicath Jamali is a multi-award-winning composer, pianist, guitarist, singer-songwriter, producer, and multidisciplinary artist whose music inhabits the space between neoclassical piano, classical crossover, and acoustic indie folk. To these ears, at least, her latest long-playing offering falls neatly somewhere between Bon Iver and The Velvet Underground. The latter is, of course, a rock ’n’ roll band, but it is specifically their debut album with Nico that provides such a compelling link between the two artists. There are traces of Paul Simon’s more artistically ambitious work on the album as well, adding yet another intriguing dimension to the album’s musical palette.

Jamali’s extraordinary musical journey began after a life-changing accident, head injury, and near-death experience, followed by three years of recovery. Although she had never played piano before, she suddenly discovered an ability to play and compose spontaneously. Entirely self-taught, she began recording the meditative music that became part of her healing—and soon began hearing new melodies in her dreams. Today, she has created more than 2,500 original compositions, performed eight solo concerts at Carnegie Hall, and reached audiences worldwide with more than 30 million streams and 142,000 followers. Quite a remarkable feat.

Her latest album, titled Om Mare Shangri-La, marks a departure from Jamali’s previous releases. A folk record built primarily around acoustic guitars and vocals, the album represents a new beginning for the artist. For the first time, Jamali steps away from the piano and takes center stage as a singer, making her voice the primary instrument—an instrument many would describe as the most intimate of all. 

And it’s all pretty remarkable stuff. No wonder Jamali has essentially created a genre of her own: Quintessence Music. It’s remarkably difficult to find anything quite like it on Spotify—or anywhere else, for that matter. And take it from someone who owns thousands of records: her sound is unmistakably her own.

Listening to Om Mare Shangri-La is less a conventional music-listening experience than a spiritual one. This isn’t the kind of record designed for the usual foot-tapping playlist. Commercial music it most definitely isn’t. Instead, these are deeply moving compositions that seem to flow directly into your consciousness, like a river of musical impulses, gently carrying you somewhere quieter and more introspective—music seemingly designed to soothe the soul.

And while “Seeds of God,” the most Velvet Underground-esque track on the album, is a particular highlight—with its eerie melody and ghostly whistling—the truth is that the entire record is compelling. From the rhythmic shifts and delicate orchestration of “The Ocean of the Seals” to the meditative, perhaps more elusive closing tracks, “Wild Birds Flying High” and “Falling Back in Eternity,” the album carries the listener through a shifting landscape of moods, states of mind, and emotions, ultimately leaving one in a profound state of self-reflection. And I mean that as the highest praise.

Another intriguing aspect of the album is the presence of Greek and Middle Eastern influences in both the guitar work and melodic language. Two particularly striking examples are “Only in Love We Are” and “Mary’s Song,” which display several hallmarks of dimotika—asymmetrical rhythms, melismatic vocals, and melodies rooted in a predominantly monophonic tradition. These elements add yet another layer to an album that continually reveals new textures and cultural echoes with each listen. 

While Om Mare Shangri-La is predominantly a folk record, as I’ve tried to convey above, it is also something much more. It is an intriguing artistic statement from an artist who appears to be at the height of her creative powers. For fans of folk and art rock, this record is not merely a sonic treat, but an unparalleled spiritual journey.

Enjoy.

Listen here: Om Mare Shangri-la

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Review by staff at MBTM

 

“Going Up (To See Him)” by Garrett Anthony Rice

Some songs arrive as entertainment; others feel like an act of remembrance. Garrett Anthony Rice’s “Going Up (to see him)” belongs firmly to the latter category. As the lead single from Rice’s ambitious 18-track double album EQUINOX, it is an intensely personal piece of music—one in which decades of grief are finally given a voice.

The song is written as a tribute to Rice’s best friend, who tragically took his own life aged just 21 in Dublin in the early 1990s. The enormity of that loss hangs over “Going Up (To See Him),” but this is not simply a song about mourning. It is about the strange persistence of love: how someone can remain an emotional presence long after they have gone, and how grief can lie dormant for years before finding a way to speak.

Musically, “Going Up (To See Him)” has shades of James Blunt, as well as one of my favourite bands of all time, The Silver Seas. The song is very subdued, yet remarkably expressive in its approach. Everything is audible in the mix, with each instrument given room to breathe. This is about as far removed from Spector’s Wall of Sound as you can get—and I mean that as the highest praise.

The playing throughout is tasteful and restrained. I particularly love the economical use of the piano, which brings to mind those early-sixties Elvis Presley recordings and, of course, The Beatles’ A Hard Day’s Night. The drumming is spot on and really comes into its own in the outro, which, incidentally, is one of the most striking moments in the song. The chord structure changes noticeably here, giving the section a character that sets it apart from the rest of the track. The coda is also where the band really steps up its performance.

But of course, that's not all there is to the track. The bass is beautifully woven into what the bass drum is doing, as it should be, but it really starts to dance during the chorus. And before I forget—how about that wah-wah? A superb touch, if you ask me.

And don’t even get me started on the harmonies. They are terrific.

As the opening statement from the upcoming EQUINOX, the song suggests that Rice has created something much larger than a collection of recordings. This is an album shaped by memory, time and emotional reckoning, and “Going Up (to see him)” gives that journey its human face.

Listen here: “Going Up (To See Him)”

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Review by staff at MBTM

 

"Bird That Used To Sing" by The Sunmills

Relationships are difficult. There’s no two ways about it. And those of us who have gone through breakups and divorces know all too well how long it can take to get back on your feet after the person you built your life around is no longer there, snuggled up next to you on the couch. I’ve been there a few times in my life. Where do you turn? What do you do? And perhaps most importantly, who are you without your significant other? These are all good questions, and the answers will come in time. I should know. It took me years to figure out what to do.

This is what The Sunmills’ latest offering, “Bird That Used to Sing”, is about: starting afresh after being ditched.

It’s a great pop-rock track that harks back to the golden era of alt-pop and rock: the nineties. To my ears, the song bears a strong resemblance to some of the British bands of the time. You can hear a little bit of The Housemartins, perhaps a slight touch of Del Amitri, and maybe even a hint of R.E.M. Whatever the influences, this is quality pop-rock, elevated by a fabulous band performance.

It all works: great lead vocals (check out the chorus — that’s some seriously hot singing!), sexy, playful guitars with just enough funk in the mix to keep the song moving, and a drum-and-bass section that provides a steady, but never dull, foundation for it all to rest on.

“Bird That Used to Sing” is a terrific slice of nineties-flavoured pop-rock, and I, for one, find it hard to imagine anyone not liking it. I know this much: for fans of the aforementioned bands, and for those enamoured with the nineties, The Sunmills’ new single offers plenty to love. It’s that good.

Listen here: "Bird That Used To Sing"

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Review by staff at MBTM

 

“Right Across The USA” by Moon Construction Kit

Brian Wilson of The Beach Boys has influenced countless musicians around the globe, and he is also the main influence cited by Moon Construction Kit, a make-believe band created by Olivier Cornu, a Swiss musician and songwriter based in Lausanne—a place that, oddly enough, shares much of the same breathtaking scenery as California. As someone from the West Coast, I noticed the resemblance almost immediately when I first visited the city two decades ago.

Long story short, even if there’s no ocean in Lausanne, I have a feeling Brian Wilson might have felt right at home there.

Cornu’s latest offering, “Right Across The USA,” is something of an alt-pop gem. While the layered harmonies bear a closer resemblance to ABBA than to The Beach Boys, the arrangement and production are rich with Wilsonesque chord structures and all manner of sonic ear candy. The keyboards and bass, in particular, should sound very satisfying to fans of The Beach Boys’ mid-seventies album Love You, a record often credited with laying some of the groundwork for the synth-pop explosion of the 1980s.

There’s a lot to love here. The vocals are smooth and impeccably produced, and although I’m sure some listeners might disagree with me, I personally love the electric drums. I also don’t want to overlook the song’s coda, which begins around 2:37 and is absolutely breathtaking. It’s a remarkable musical moment—one that leaves us craving more, which is never a bad sign when it comes to pop music.

“Right Across The USA” will be an absolute treat for fans of Brian Wilson and 1980s synth-pop alike. It’s one of those tracks that gets your foot tapping while offering enough musical depth to reward repeated listens.

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Review by staff at MBTM

 SEAN MACLEOD'S ART OF REINVENTION

Sean MacLeod is an Irish singer-songwriter, musician, producer, author and lecturer from Dublin. A lifelong songwriter and performer, he has been writing, recording and performing for more than 30 years. He first came to attention as a founding member of the Dublin band Cisco, whose work, recorded with U2's Paul Barrett, received critical acclaim in Ireland and attracted interest internationally. Following the band's split, MacLeod embarked on a solo career, developing a distinctive sound that combines melodic indie pop and alternative rock with elements of folk, psychedelia and avant-garde music. 

Sean, you’re from Ireland. Could you tell us a little about your childhood?

Yes. I grew up in Dublin, Ireland. I had a very happy childhood—lots of friends and lots of fun. Actually, my childhood was so much fun that adulthood has paled in comparison, but I think that’s how it is naturally.

When did music first become a part of your life?

Music was always part of my life. It wasn’t the main thing in my life when I was very young, but it has always been there. When I was about seven, I had to go to piano lessons, which I didn’t much like, and my older brother and cousins were all into music, so it was always around me. When I was 11, I heard someone singing a Beatles song, and that really struck a chord (excuse the pun). That’s when I really wanted to know more about music and songwriting.

Were your parents musical?

Yes, in the sense that they loved music and wanted me to learn music, but they didn’t really play anything. My mum played the piano a bit, but she wasn’t a concert pianist or anything. However, she had a big family, and they all played music. My aunt could have been a professional musician; she was very gifted. She played at school concerts and Christmas get-togethers and entertained everyone with her playing. She was naturally very talented.

What are the lyrics of “Inside Out” about?

They’re essentially about finding oneself in this world without all the outside influences, or the internal guilt and fear, that can get in the way of being who we should essentially be.

You have a PhD in musical composition. Was it always clear to you that you wanted to study music at university?

No, I never wanted to study music as such. I would rather play music, but I like researching things, so it was a little like combining these two things. My PhD was an arts practice PhD, which is more about your practice than just accumulating theoretical knowledge. So, I essentially wrote songs for six years.

You’re also an author. Could you tell us a little about your latest book?

Well, my latest book was my PhD thesis. Yes, there was an academic side in the form of a thesis as well as the practice side. It is basically a written document about the music I wrote, why I wrote it, what I was trying to explore through the process, etc.

So, I was looking at why we tune our instruments in a certain way and what would happen if we tuned them differently. I explored that idea and then composed pieces in different tunings. One aspect of it was the use of modern technology and how that affects music today and how we engage with it. So, my argument was that it can restrict the musician in terms of the tuning system because, although it can accommodate lots of alternative tunings, it can tend to standardise music because technology has a tendency to do that.

You released an album last year titled New Start. Could you tell us a little about the album’s lyrical themes?

New Start was the result of me getting frustrated with finishing my current album, That’s When the Earth Becomes a Star. It was taking so long to get the songs to a level I was happy with that I thought I would release a few as singles. Then I thought it had been six years or more since I had released an album, despite having lots of material as a result of the time I had spent working on the PhD. So, I decided to put out an album of old singles and new singles. In the last year, I finished this new album, so the new songs are part of this album, but they are actually different mixes—better mixes, I think—which justifies them being on the new album. Also, this album is more cohesive.

What is your philosophy on life?

Love is all you need. That’s all we know on Earth and all we need to know.

What’s next for you?

I have two new albums coming out of the PhD work, and I have also finished recording two other albums, so I plan to release the material throughout 2027.

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Interview by staff at MBTM