Robert Farrell's record Metaphysical Ignition, Piano Suites has presented me with a difficult problem, giving a good/thorough review. I have never been a huge listener to classical music, or even instrumental music, therefore I am quite ignorant to the syntax surrounding this genre. So I have decided to style this review in the only plausible way. Personally I usually equate classical music (however ignorant this may seem) to movies and their soundtracks. This disc seemed to fit that idea perfectly.

Containing four Suites, composed of three or more major factions each, I found that this disc could certainly be superimposed into different genres of film quite effortlessly. Suite #1, sounded a lot to me like it could be the backdrop of a thriller film. The music itself was somewhat dark (C. Minor) as well as of fast tempo. The prelude to Suite #1 sounded to me like it should have been inserted into that classical scene in the thriller movies where the hero is beginning to figure out the truth of the situation and slowly opening his/her eyes to the obvious evidence. The interlude to this Suite sounds like the scene where the hero is sharing the new information with his/her sidekick or supporting character, as the section is lighter, slower, yet still quite edgy. The Fantasy section of this Suite to me sounds like the scene in which the two heroes are chasing after the guilty party - the climax if you will. This selection of the Suite is a bit faster and lighter than it's predecessors. Finally the last section of Suite #1 is the postlude. This selection sounds as though it would be played in the finale of the film in which the guilty party is either being hauled off to prison or killed.

Much like Suite #1, the remaining three Suites sound as though they would gel with other genres of film. Suite #2 sounds to me as though it should be in a love story, as it is airy and upbeat and slowly progresses into a slower, yet still upbeat song. The third Suite would work nicely in a drama picture. It is darker and almost lamenting, leading into a more textured sound and finally wrapping up with an edgy and dark sound. Finally, the last Suite sounds to me like the perfect backdrop of a horror film.

I sincerely apologize if I have offended anyone for my little analogies and comparisons of Robert Farrell's Metaphysical Ignition, Piano Suites Although I have never been overly enthusiastic over classical music or instrumentals, I found this record quite enjoyable. Robert Farrell certainly possesses a gift of talent and composition.

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