Cyril

There's a certain decadent charm to his compositions, early modernist with a mystical flair—and you can almost hear theosophical whispers beneath the piano lines. It's all very esoteric, very inward. His harmonic language, especially in the piano works, is lush, bordering on indulgent. I appreciate that. It's that same opium-scented haze you find in The Kybalion, or Atkinson’s peculiar blend of New Thought veiled in Eastern philosophy. You can feel that current in the music. The piano becomes a medium.