Album Review: Instrumental and Vocal Music Selections by Paul Earls
Released in 1995 under the CAVS/MIT label, Paul Earls’ Instrumental and Vocal Music Selections is a fascinating blend of classical precision and electronic experimentation. Rooted in modern classical and contemporary styles, this U.S.-based album offers listeners an intricate soundscape that feels both cerebral and deeply emotional. It’s not your typical "background music" kind of record—it demands attention, but rewards it generously.
One standout track is “Icarus, Part 1.” The piece immediately grabs hold with its layered textures, combining delicate piano motifs with subtle electronic undertones. What makes it memorable isn’t just the technical skill—it’s how Earls creates tension without ever fully resolving it. You’re left hanging, almost yearning for more, which perfectly mirrors the mythological figure Icarus himself. There’s something haunting about the way the melody drifts off into silence; it feels incomplete, yet purposefully so. This track sticks with you because it doesn’t spoon-feed resolution—it invites interpretation.
Another highlight is “Building of Universe, Part 3-4.” If “Icarus” feels like floating through clouds, this one hits like controlled chaos. Here, Earls leans heavily into his electronic influences, crafting a dense web of sound that builds relentlessly. The percussion elements are particularly striking—they pulse like a heartbeat, grounding the listener amidst swirling synths and fragmented orchestration. It’s ambitious, maybe even a little overwhelming at times, but that’s what makes it so compelling. By the time it reaches its climax, you can’t help but feel like you’ve witnessed the birth of something monumental.
The album as a whole reflects Earls’ ability to straddle two seemingly disparate genres—classical and electronic—with remarkable ease. While some tracks lean more toward traditional instrumentation (“Germania Aria,” for example), others embrace avant-garde techniques that push boundaries. It’s clear he wasn’t afraid to take risks, even if those risks might alienate casual listeners.
What strikes me most about Instrumental and Vocal Music Selections is its refusal to conform. In a world where music often prioritizes instant gratification, Earls opts for complexity and nuance. Sure, it might not appeal to everyone—but then again, great art rarely does.
As I reflect on this album, I’m reminded of a quote I once heard: “Good music should challenge you as much as it comforts you.” And honestly? That sums up Paul Earls’ work pretty darn well. Who would’ve thought an MIT-affiliated project could pack such an emotional punch?
