John Adorney is a guitarist , composer and producer who has developed his career mainly in two directions: the music and music therapy . As it happens, these two perspectives - when they log on with the plan of writing and music production - converge in the new-age style . A musical genre that , like all others, is not monolithic but reflects many different sub-genres and categories , and has produced some interesting results , and that especially attracted the interest (or , perhaps I should say , it is structured time thanks to the contribution ) of famous artists and often primarily focused on other forms of testing , such as Brian Eno, Jean Michel Jarre , Jon Anderson and Rick Wakeman ( of Yes both ) . Even this is no longer the kind of niche and has a tradition of a few decades now , since at least one of styles (perhaps not the most well known by the general public , but most of the studies analyzed in the framework of socio-musical ) that are definitely related to it although too often overlapping (I think that music more or less " electro- etnicistiche ", which in the nineties have done much to discuss and which groups like Deep Forest French or Romanian - German Enigma were among the leading proponents , or to world music and more mannered rhetoric , up to the so-called " cosmic music ", which is expressed from the end of the sixties, in the context of structured projects such as Tangerine Dream ) . Since 1998, John Adorney has released six solo albums ( Beckoning , The Other Shore, Waiting for the Moon Trees of Gold , The Fountain and The Fire in the Flint) , making a success especially in the circuit less experimental new music -age , which coincides with productions characterized by a sound affable and non-complex (which, in extreme cases , which unfortunately affect many productions of this kind , it becomes too synthetic ), a light rhythm and circular ( the construction of which is linked to the transfiguration of concept of meditation) and , in general, from a harmonic structure deliberately " relaxing ", the greatest risk ( in the worst case ) is to be like the music too " subtle " (which obviously occupy a lower rung of the entertainment ) and finally to entertain in elevators or in waiting rooms . The Wonder Well is the title of the new album by John Adorney and , in general terms, it seems to me that you leave a positive interpretation and developable glimpse of the new-age stereotypes . The album combines inspiration "traditional" instruments developed through a fairly typical of the genre ( especially keyboards, some piano line almost never left alone, but always supported by an evanescent carpet , a few items , especially electronic rhythm sections , some introductory cordofono the general theme of the song, plucked ascending cadenced at every turn of the quarter , leaping melodic phrases ) , with some issues, not only text but also music , joined by an array of course neo- romantic balance and harmony. The structure is very sound and harmonious effect , though it may be - mainly because of a repeated pattern of overlapping of synthesized sounds - a little dynamic . The tools interact in an atmosphere as good-natured slightly surreal , built through a sound candidly resolute , even if unoriginal . Although on the whole the distinctive elements of the new-age certainly maintain a central position , some tracks are affected by a more rhythmic arrangement and interaction tools built (almost exclusively chordophones ) more acoustic and more "played " . That is less instruments of " effect " of the environment, which anchor the relaxed flow of sounds in more concrete actions : especially guitars, banjo , sitar, dulcimmer , autoharp (all played by Adorney ) , which in this context take on a role more rhythmically understandable and concrete , and fail to give greater weight to the beam of the percussion , which, according to tradition , are always soothing and ethereal . To tell the truth Adorney - which is a good guitarist , whose music is clearly the result of not only a reflection but also a series of "applications" in the context of interaction with sick people - with The Wonder Well failed to process a captivating narrative , not only in the measure of a more or less dreamlike sound , but especially through the inclusion of more concrete ( as I said before ) , fielding some resources that although ethnicity them wink with a simple ( through , for example , the insertion of the bamboo flute , played by one of the guests on the disc, Richard Hardy ) at the same time enrich the harmonic range and different arrangements , bringing back the entire work forms less stereotyped and certainly more complex and interesting . This approach is especially visible in two songs , "If roses Could Speak " and " Unbounded " , in which it intervenes , in a more lively and rhythmic deep , the voice of Daya , a young singer with whom Adornay been collaborating for some time and with which , in August 2010 in Thousand Oaks , California, has many of the songs performed live in his previous albums ( excerpts from the performance - which was published in both dvd cd with the title John Adorney and Daya LIVE! in Concert - are available on the website of Adorney ) .