Skyminds – Echoes On The Shore Review

What does Skyminds sound like?

Cosmic semi-improvisational folk music built from a spine of hammered dulcimer tones.

The review of ‘Echoes On The Shore’ by Skyminds

With ten years of music behind them, Michael Henning and Sean Conrad continue to explore new variations of folk music together. Skyminds has often embraced the cosmic, almost Krautrock approach to folk music and this new album is no different. What is different is the more focused sound palette this time around. Whereas previous albums have touched on different instrumentation and folk genres from around the world, ‘Echoes On The Shore’ is a more meditative and reflective affair.

This means Skyminds tap into a lush exotica that sounds written for lavish halls, Greek bathing rooms and opulent resting stations. The opening track ‘Wasser’ eases the listener into the mindset with droning sitars creating a morning raj of sorts. Mixing the sitar with hammered dulcimer and acoustic guitar gives the piece a global Appalachian feel that is uniquely Skyminds. ‘Agua Escondida’ is a serpentine glossy shuffle through inquisitive electric piano glazes, small hand shakers, finger cymbals and a Persian approach to soft harmoniums. At times it sounds like we’re on a stealth mission. Other times it could score the backdrop to a mythological dining hall scene.

‘Rolling Along’ is a beautiful piece built around a driving guitar whine, shakers and hand percussion. Backed by a caravan acoustic strum, the electric guitar waxes and wanes like a theremin. The song literally rolls along, as if we’re travelling to a destination unknown and just enjoying the ride. It works perfectly with the aural ambience of ‘Floating Horizon’. Shimmering bustles of celestial synths bring a retro new-age tone to the track. As the synths seep in and out, the hammered dulcimer and fretted instruments gently pitter-patter like warm rain around them. It’s as close to traditional ambient as Skyminds gets and they do it very well.

Skyminds build their songs around initial improvisations before cutting, editing and structuring tracks for a more concise and impactful finish. ‘Springtime’ is the first time the duo have left an improvisation entirely untouched. It is a sumptuous mix of wirey synths and Javanese-styled percussive bell synths gently playing over the top. I found the song provided a morning glow to the album with its gently uplifting vibe. The track was recorded live at the Vintage Synthesizer Museum so it really was a one-shot deal. A saxophone, a marching drum and unusual percussive blocks join twinkling synths for ‘Along The Ocean’s Edge’. Like many tracks on the album, the skeleton of a chord and motif structure is set up whilst another instrument riffs over the top. This tranquil piece lets the saxophone gently muse over the hot and dusty percussion as if we’re in desert sands.

That dusty, hazy, summer afternoon glow hits fever pitch with ‘Westwood Winds’. This is the Americana folk track of the album. Think twangy guitars, light electric piano, and reflective slide guitar noodling and you’ll be in the right place. It leads us to the seven-and-a-half minute finale ‘Seagreen Reveries’. This piece uses trickling and bubbling water sounds as a canvas for other synths to drizzle themselves onto. When I say drizzle – I mean it. Notes cascade, warble, splash about and circle like bubbles and shawls of fish in the water. The song is playful in an understated way and its use of electric piano and synth choir voices gives the track a retro jazzy sound.

Perhaps less immediate than their previous albums, ‘Echoes On The Shore’ captures a gentler approach to folk improvisation. There are plenty of unique sound pairings to explore still, which is a trademark of a Skyminds album. The entire album feels like a healing exhale to bring the listener relief and comfort. Fans of folk, ambient and gentle psychedelic music will enjoy basking in the glow of this album. A deceptively warm hug in 40 minutes of rustic ambient.

Recommended track: Aqua Escondida

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