We are proud to reintroduce Magdi Aboul-Kheir, a Germany-based composer and journalist. Truly embodying the spirit of music, his creativity exists in the enormous space beyond the rigid structures of Baroque music and the intense energy of Metal music. His compositions have been found equally impressive both when they were performed with a string quartet and in the atmosphere of trance.
Although he was originally classically trained as a pianist, Aboul-Kheir is first and foremost an innovative composer, driven by the passion of melody. His pieces always come out melodic and captivating, regardless if he uses the rich palette of the full orchestra or the golden glow of vintage synthesizer sounds. After his captivating instrumental journey, “Slow Heat” and the brilliant “The Weaving Of Human Nature”, Aboul-Kheir has brought out his next creation on April 3rd. The album is entitled “The Piano Has Been Dreaming”. So let’s see what it brings!
The album does not start with anything flashy; rather, it starts softly. “Echoes of Tenderness” starts with the sound of astral-sounding keys that seem to float in a vacuum. This particular piece of music is so intimate that you actually hear the motion of the piano felt. While the music progresses, brooding bass tones support the high notes, thus adding to the mood of cinematic melancholy. This music remains very sparse; you get the impression that you are seated in an enormous church without anyone else around. This song is exactly what the title is. It is soft, minimal and tender, and it just sucks you in with its peaceful nature.
“Beauty, Wine and Truth” creates a slight shift in the tone of energy but with a more bold spin. It opens with a pulsing piano line, echoing the consistent beat of an extended discussion. Compared to the previous track, “Beauty, Wine and Truth0seems warmer, with the midrange piano giving off an oaky quality. The flow of notes in this piece echoes the effect of intoxication, with the melody flowing smoothly and overlapping as though one note melts into the other. It doesn’t sound the same as the previous sound because of certain nuances in the piano sounds
The introduction to the song “Letters Never Sent” is characterized by a number of staccato-like movements. There is no melodic line, but a repetitive tapping of the keys, giving the impression of someone drumming their fingers on a table. Now, I know that this song has no lyrics but I feel like this song really feels like the regret of things that were never communicated or things that went unsaid. The composition is created through a buildup of tensions; the chords seem never-ending, never resolving into anything else. The music is clean and concise, without the long reverbs present in the previous tracks. There is an urgent feeling of anxiety and suppressed irritation in it.
And in “Sanctuary Of Dreams”, lies the focal point of the entire album, the most elaborate story on it. The song opens with a deep bass sound preceding the first piano chords, thus giving an impression of an extended soundscape. Over the course of the song, there appears to be a “sonic design,” which consists of various layers, including piano sounds and atmospheric backgrounds. It is epic and spacious, giving listeners a sense of having gone from an intimate chamber to an open landscape under the stars.
The opening to “Gravity of the Heart” starts with a low, heavy bass note that holds for a few seconds before the music begins. This gravity manifests physically through the deep notes at the bottom end of the recording. It is an intentional and forceful song, where the pianist is pressing heavily into the keys. The sounds produced by the instruments are rich and lush. There is a very literal pulling effect, almost like being pulled in by love or grief.
In the opening of “The Shadow’s Shadow”, we hear a melody that is quite delicate and high-pitched. The instrumentation in the work is minimalistic, allowing us to focus on the quiet moments between the notes. The execution of the piece has an otherworldly presence, as the pianist makes much use of the una corda, which gives the piano an echoey, muted sound. I have the impression that this is a shadow of a shadow, a piece that leaves us a little bit detached and thoughtful.
The music of this track provides a rhythm to the tranquility of the previous one. “Last Light and Fading Thoughts” opens up with a descending arpeggio, a stream of waterfalls of notes, which form the foundation of the entire track. The instrumental sounds are sharp and distinct, with a certain shine to their higher tones. The composition is repetitive and cyclic, creating the impression of a mantra repeating itself for eternity.
The last piece, “Eternal Home”, starts off with a single note which is allowed to sustain until it fades away almost entirely. There is a lot of instrumentation in this composition which is very much cinematic because of its emphasis on the sound of the strings of the piano. There are no difficult or fancy playing techniques used in this piece; it is just played with dignity.
A tremendous feeling of respect and affection spontaneously emerges when working alongside someone as inspirational as Mr. Kheir. With each new release, his creative genius does not just develop but rather grows, illustrating the fact that Mr. Kheir is a genius who constantly finds himself at the peak of his powers. The current album is a refuge of music, a precious repository of tranquility and serenity, which is so pure and clean that it seems as though everything around has come to a halt in anticipation of its arrival. I found myself immersed in the melodic piano tunes, the beautiful silver strands of sound that I am sure I will cherish for years to come. Heartfelt congratulations to you, Mr. Kheir, for creating another amazing, awe-inspiring album, and I cannot wait to see what other masterpieces your genius creates.
Stream the “Piano Has been Dreaming” album on Spotify
Follow Magdi Aboul-Kheir on his socials: Facebook, Instagram, Bandcamp
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