I N N E R   W O R L D S
Inner Worlds

Audio Samples

Lost Time
Flying Crow
Desert Journey
Beyond Dream
The Way Home
Peaceful Valley
Inner Worlds
Total Time

INNER WORLDS is music that soothes and brings to heart the freedom to discover within.  Music can open a pathway to the inner self.  Through this pathway we discover inner worlds.

Jim Pietkivitch
  Alesis QSR, Korg TR-Rack, Roland
  XV-5080, Yamaha S90, Yamaha SY99
  Roland V-drums, Djembe,
  Native American Drums, Rain Stick,
  Tibetan Bell
Melanie Lunsford
Flute on Skyward
Vocals on Peaceful Valley

Inner Worlds Reviews
  • Massage Magazine
  • Amazing Sounds
  • All Music Guide
  • Aural Innovations
  • The Critical Review
  • Sea of Tranquility
  • Midwest Record Recap
  • Smother.net
  • Other News

  • Reviewed by Joe Derderian - Massage Magazine, September-October, 2004

    With the release of this third album on his own Electrofine label, Jim Pietkivitch expands further into the heart and mind of space music.  The 10 tracks on Inner Worlds confirm his already impressive standing in this genre.  Once again, Pietkivitch avoids the all-too-common mistake of losing the music in the technology.  His obvious passion for this work helps create electronic feelings that are surprising and impressive on an exclusively keyboard composition.

    Remarkably organic, tracks such as "Skyward," "The Way Home" and "Inner Worlds" show such gentle, personal touches and eloquent flourishes that at times it seems the "instruments" must certainly be actual, not digitally synthesized.  However, even discounting his battery of synths, Pietkivitch is not entirely alone on Inner Worlds, as flautist/vocalist Melanie Lunsford lends her talents to two tracks:  flute on "Skyward" and vocals on "Peaceful Valley."

    Like a deep, sighing release, Inner Worlds contains the smiling contentment of a cleansing breath, and the knowledge that there is no rush, no hurry, no panic necessary in this life--that everything not only happens for a reason, but unfolds exactly as it needs to, when it needs to, with no need for intervention on our part.  Additionally, Inner Worlds stands up well to repeated listening and ought to appeal to recreational listeners, too.

    Reviewed by Edgar Kogler - Amazing Sounds, May 2004

    The music made by Jim Pietkivitch reflects the intense emotions that activaty his artistic creativity. With an approach more or less connected to New Instrumental Music as well as Space Music, the album offers us an excellent sample of the work by this artist, who has a remarkable talent to create melodies of a great beauty. A very good choice for those listeners who enjoy a  melodic symphonism with space shades.

    Reviewed by Alex Henderson - All Music Guide, April 2004

    Not everyone who listens to new age music is actually into the new age culture. There are people who will listen to Suzanne Ciani or Enya (just to give two examples) but have never used crystals or any other stereotypical items associated with new age practices -- they don't read new age publications, and they don't visit new age specialty stores. For such listeners, new age isn't a culture or a lifestyle; it's strictly a genre of music that helps them unwind, chill out, decompress, or relax. And quite often, listeners who seek tranquillity for the sake of tranquillity will tell you that a soothing, calm ambiance is all they need -- they aren't looking to be challenged. Nonetheless, it's important to understand that the new age genre has become increasingly diverse over the years and that some new age discs are, in fact, challenging. Jim Pietkivitch's Inner Worlds isn't as ambitious as some new age releases, but it isn't an exercise in total mindlessness, either. This mostly instrumental CD has its share of thoughtful twists and turns thanks to Pietkivitch, who keeps things fairly interesting by incorporating elements of European classical, jazz, and even progressive rock on occasion -- and he accomplishes this with very little help from anyone else. Colleague Melanie Lunsford contributes flute playing on "Skyward" and wordless background vocals on "Peaceful Valley," but most of the time, Pietkivitch (who composed all of the material) uses his synthesizers and programming to act as a one-man band. While Pietkivitch never becomes aggressive -- this is new age, after all -- he does demonstrate that an artist can maintain a peaceful mood without being ultra-predictable. Inner Worlds falls short of remarkable, but all things considered, it is among the more noteworthy new age releases of early 2004.

    Reviewed by Louis Hesselt-van-Dinter - Aural Innovations, April 2004

    I’ve always been fascinated by musicians who could creatively sneak classical music inspired riffs into their songs. It’s what made me give up Top 40 for Progressive Rock when I was just a kid. Over the years I’ve sampled a variety of bands that successfully mated classical and rock. To be honest, I’m pretty particular about my music, and while I liked all of them, I drifted away from most of them over the years. I did manage to find a few gems and three symphonics that still find their way into my regular rotation are Enid - In the Region of the Summer Stars, Anthony Phillips - Slow Dance, and Michael Oldfield - Islands.

    Of course, over the years my musical tastes changed. I no longer seek out progressive rock with the fierce determination I once did and symphonic even less. So, like I’ve said here before, lots of music goes right by me and I never even know it.

    That brings me to Jim and Inner Worlds. Jim plays keys, percussion and oboe. He’s joined on 2 tracks by Melanie Lunsford who plays flute and sings. I should tell you that I really like this recording. It is without a doubt one of the most beautiful symphonic works I have heard in a very long time. Even though it’s electronic keyboards, it’s mostly natural sounding instruments and organic patches. There is a very light sprinkling of percussion to add a bit of snap when it’s needed.

    The songs themselves are, well, beautiful. Lilting melodies balanced out with gentle accompaniment. Miles away from ambient, but soothing and introspective just the same. Even though it’s an all instrumental album, it’s never boring or repetitive, and I never found myself tuning it out (even briefly). This one will join my regular rotation, stuffed in between Jeff Greinke, Robert Rich, and the Ozrics.

    Review by A Canales - The Critical Review, April 2004

    In listening to this project I discovered an artist that delivers rich wonderful sounds.  His music is thick, nuanced and so lush that I was almost blown away by most of the cuts. 

        The first couple of tracks clearly presented this sense.  Musically it has a symphonic, near classical aura but it is more modern--as what is done with synthesizer.  Cut #3 "Flying Crow" (6:20) has more emphasis on textures ala electronic.  I really enjoyed this tune as I did many of the cuts.  On "Desert Journey" the sense was most interesting and somehow the song reminded me of MIKE OLDFIELD and maybe his" Tubular Bells" [the theme song to THE EXORCIST] (especially in the opening), as well as the other works. 

      "Beyond Dream" goes on for over an unbelievable nine minutes.  Here, there's more to the nuance and touch.  In some ways this was my favorite cut.  On other cuts he adds edges that give the works an ethereal feel.  In places he reminded a bit of say VANGELIS and others.  Often the songs develop slowly.  One pretty number was "Farewell".  The title track, the last cut on the CD, has a magical and mysterious sense and pretty much encapsulates the PIETKIVITCH approach.  An interesting work that leads the mind to soaring.  Recommended.

    Review by Elias Granillo - Sea of Tranquility, March 2004

    Traversing the Gulf Of Burmer and docking on the shore of the Arkenstone Peninsula, Jim Pietkivich’s soothing electronic vistas mine territories previously staked by Rockenfield/Speer’s Hellscanyon, Emerald Web’s Catspaw, and Roach/Braheny/Stearns’ Desert Solitaire. On Inner Worlds, delicate melodies surf the crests of gentle, hypnotic rhythms and combine into one “ambient rock” whole. Jim’s new album is a soundtrack for zones less populated, kingdoms arid and sparse or lush and tropical — those places as yet untainted by the wide swaths cut by civilization’s continual expansion, and the residual peace they offer.

    Realized with a bevy of the smoothest emulations of strings, pianos, oboes, basses and delicate washes of pure synthetic space, Jim also performs on Roland V-drums and a handful of indigenous instruments, including Native American drums, a Djembe and a Tibetan Bell. This type of sonic terrain will prove much too somnolent for some, yet given patience, the placidity found here can be very rewarding for those spare moments when the pomp of prog, the frenzy of fusion, and the mania of metal just won’t do. Key tracks include the melodic bliss of “Skyward”; the stationary freedom of making a “Desert Journey”; “Farewell,” which echoes midperiod Jean-Michel Jarre; and the title track, which is unabashedly reminiscent of Steve Roach’s days on the long-retired Fortuna label. Adversely, “The Way Home” is much too saccharine.

    Inner Worlds isn’t as texturally diverse or dynamic as, say, Kitaro, or latter-day Vangelis, but Pietkivich borrows from neither. Recommended for fans of any of the ambient/electronic/new age artists mentioned in this review.

    Review by Chris Spector - Midwest Record Recap, March 2004

    Take some hippie into yuppie sensibilities about electronic music, mix them with some well honed jazz chops, stir until tasty and you have a nice  genre busting set that gives good vibes, good music and doesn't ask for qualification.  A staple of back road music avenues, Pietkivitch continues his journey to quality music with a set that shines brightly.  A nice set for those inner directed moments when adults just need something special to ease them into the quiet.

    Review by J-sin  - smother.net, March 2004

    “Inner Worlds” is a melodic jazzy prog-rock escapade that coarse through your entire body with its beautiful notes and lingers there almost daring you not to continue listening. Vocalist/flutist Melanie Lunsford adds further dimensions to this spacey rock compendium. Several other interesting instruments add more flavor such as the djembe, rain stick, Tibetan bell, and Native American drums. The percussion while light slowly possesses you and engages you in dance.

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