It’s an unusual approach to program music, this multicultural mixing, but Franke apparently felt the need to peru’s other vistas in his search for the right musical settings. Although the story is set in Peru, Franke has some united notions about what the music should sound like there are peruvian flutes, chinese flutes, australian flutes, american indian flutes, japanese flutes, african voices, gregorian chant and irish harp all intertwined. Steeled for sixty minutes of new age navelgazing, I was surprised to find that Franke had instead written a surprisingly melodic, evocative score that held its own with the natural and exotic works of Kitaro, Vangelis and Jon Anderson. (I still think both series should have ended after the first season with their ships colliding into each other.) And, as a discographer, I can’t help but note that the man’s recorded oeuvre is littered with dubious entries, including no less than a dozen soundtracks to a series whose sole purpose seemed to be to make Deep Space Nine look like less of a complete crapfest, Babylon 5. If you’ve read my other Christopher Franke reviews (and who hasn’t?), you’ll know that I don’t give him a free pass for past services rendered in the great dream.

I’ve haven’t grown so soft around the middle that I don’t find the whole spiritual journey in South America theme just an itsy bitsy celestiney weenie-ish, but it wouldn’t be the first time that a second-rate libretto inspired a first-rate score. New age music from the former TD mainstay linked to the new age philosophy of The Celestine Prophecy book.

The celestine prophecy review