AREKU – Everlasting

It’s now two months since my album “Everlasting” went online at Spotify, iTunes and Google Play. Today I wanted to talk a little about each of the compositions of the album, the process of making this album, and other thoughts related to Everlasting.

AREKU cover for Everlasting realeased on itunes spotify google play

Everlasting is my first EP, focused on “orchestral music”. My inspiration to making this came from classical music, or more precisely orchestrated works in general. I’ve wanted to do something like this for a couple of years, creating something melodic, maybe even pompous to stimulate my growing ego.  Writing for orchestrated settings as that’s something that have always enchanted me. It might be worth knowing that I have about zero knowing of musical theory or composing theory, as I’ve learnt by trial and error through playing to see what works and observing others compositions.
So prior to working with this album, I did a song called “Now is Forever” to try my wings. It was well received, something which brought me great joy.  I had begun working on the main frame for “Everlasting” slightly before the release of “Now is Forever, but this gave me even more inspiration and energy.


The album opens with “Prelude”. I wrote this with having it as an opening track in mind, forming an introduction to the content to come. I went with a more mellow sound, but be aware as I also intended it to be like “the calm before the storm”, most notable is the switch during the last phrase with the lonely cellos.

Here I continue on the calm before the storm – I imagined it being the soundtrack to a forest scene, where peace is soon to be disturbed. Starting off with flutes and a harp (a dubbel new for me), moving over to a rising string section with one lead violin, also mixing in a hint of glockenspiel. At 1:47 I wanted to begin the more sorrowful part, as of there it’s suddenly dark clouds seen in the horizon. The flutes returns.
3:07 – The sky is now dark. I visualize how some kind of ill willed  creatures disturbs the peace, accompanied by the pizzicato of the cellos and accentuated by timpani. This kind of build up is something I was inspired by most notably Edvard Grieg.
Then enters organ, to further empathize the feeling of something grim, before we return to the flutes for a sense of calm before the full string section returns in a rather more mellow way than last time.  Then comes the switch to what I would call the second “movement”; with more strings and a hint of brass, fooling one that maybe everything is alright again. This builds up to the section starting at 6:37 with arpeggiated harpsichords together with more prominent strings. After the song was finished, I noticed that the first part of this section reminded me a bit about the music from Donkey Kong Country 2..    This more hectic part symbolized the chaos of the previously mentioned scenario, and is followed by a lonely flute with strings, before the harp returns and we enter the third and last movement which follows the same style as the first movement. Light have returned.

I would say that this is the spiritual successor to “Now is Forever”, and it was the first track of this album that I completed.

Winter (~Alice Lost~)

As the name implies, this is a take on my previous single “Alice’s Winter Box” (also available on Spotify and iTunes as a single) which I wanted to do an orchestrated version of, without loosing to much of the melody box-feeling. I therefore used short strokes of violin together with longer ones to back up the main rhythm, while still preserving the melody.
One day I wish to have a toy box remix of all my songs, but that day is not today.


This is a mostly an improvisational piece, featuring movements from “Now is Forever”. The original was written in one sitting, but it took me a couple of revisioins to make it into what it is on the album. This one is all about the feelings of the moment, mostly featured by the sometime odd changes of key and time. The motives were “time”, and I wanted this piece to have somewhat of a dreamy feel to it.
This is also one that I’ve learned a lot from. Before the release I showed it to my dear friend and fellow musician SaSa who is a skilled pianist, who gave me some very great feedback that will influence me as a composer and be carried with me into future works.

Now is Forever

This was my first venture into composed/orchestral music. It felt very natural to include it on this album as its final track, as this was the origin of it all. It’s an journey through emotions and settings, and I guess that it also tells about myself.
I still recon that this is my best orchesteral composition to date, and by that I still have a lot to learn from music and myself.


Did you enjoy Everlasting and this dissection of my works? Then consider to leave a comment below and get my album through iTunes!

AREKU Everlasting itunes spotify google play

If streaming is more your style, head on over to Spotify where all of the tracks are available!
(Consider subsribing to my Spotify profile as well – that way you’ll get instant updates when I release a new track!)

Thank you.

One Response to “AREKU – Everlasting

  • Everlasting makes such an impression. My unstoppable poetics. Please keep stimulating your ego this way. It brings such joy to us! I don’t see this as pompous at all; I get more of a beautiful ceremonial feel. It has an overall seriousness to it that I simply adore. Especially Now is Forever. It does remind me of that serious feel I enjoy when listening to Apocalyptica. You know theory is a good tool if you use it. But it’s not a shiny thing in itself. Trial and error and listening to other people’s work is with or without theoretical knowledge the basics. Do it the way that is comfortable I’d say. To be frank. There’s always time to learn theory later if one wishes to. I’m sorry but I have to say this, I feel that today people have an over belief in theory and what it is. Any craft requires much more than theoretical knowledge and the most important thing I think is to dare to do it. Something I need constant reminders of.

    It so happens that Now is Forever gave me a real strong feeling and energy kick too.

    I know I’ve said it before but the whole album have a story feel and could certainly be a soundtrack to something like a game or movie. Although I’d love to snatch Dream for poetry purposes. The story feel begins with a Prelude build up that I really like. It creates musical narration. Oh, and how marvellous isn’t the expression “the lonely cellos”. I do like those lonely cellos and the beginning has a haunting gothic feel to it, you know something bad is coming after you. Riveting!

    When we arrive in Autumn it’s long and rather complicated. I have a feeling that is the point. All the emotional ups and downs. Thank you for telling me, I had never guessed it was a glockenspiel hidden in that, it sounded familiar but I couldn’t place it at all. This song have a nature vibe. I did indeed imagine a forest and it’s certainly trickery going on.

    …not all that glitters.

    It is dark and sorrowful but also triumphant. Not sure how I make it this. The Grieg influence I can hear, not wanting to tell you all about my Grieg-iness. It might have been a big thing in my life, quickly moving on. The sound at 8:38-09:08 sounds like talking or tweeting. And I absolutely love the silent pause at the end. It really makes you digest all of this emotional commotion. Maybe it’s because I’ve been working on a lot of poetry lately but I find paused emphasis to have a very big effect if you use it wisely like this.

    ‘They who don’t listen say life isn’t fair’ no need to repeat that to me. Yet they always do. I scoff.

    It’s such an emotional piece and that last silence, heartbreaking. Emotional storms include silence, perhaps out of necessity. But even with the intense sorrow and tweets I still have that ceremonial feel.

    Rather short a Winter, but sorrowfully sweet. Less music box more violin. All that long and short strokes really makes me miss playing to tell you the truth. Staccato was one of the things I never really mastered but really wanted to learn. I still remember sneaking out of the house with the lent violin to play outside, so not to make noise inside. Not that I was allowed to, did it anyway. Shocked? I shouldn’t think so. I liked playing outside a bit too much. I’m glad I never got into the mood of playing naked by the water or some such folklore nonsense. And we’re all thankful I don’t have a violin now so I won’t make that into some sort of thing. I think that connection between violin and spells is responsible for my fascination in the first place.

    I regret even more I didn’t get to play the viola now; it seemed to fit me better. Bigger size and lower more mellow sound that I kind of prefer, not that I don’t like violin but that in the middle between violin and cello does intrigue me. I did try to play the viola once, when I had just stopped playing violin and kind of just picked it up and played. But time and money… Still, I do appreciate both violin and viola and the combination of the two. Slightly off topic now.

    I got lost in dreams of strokes and fields and naked. As one do. Now the music box feel is still there, I kind of like this version even if it feels darkly and a bit uncertain. Connecting to the darkness, it can be beautiful in its sadness.

    You really ought to do more music box versions. It would make kittens happy and me! The kittens that stayed with us during the summer was really fascinated by Alice’s Winter Box. Not in any way masking my own fascination. The music box and its sound relates for me to a gestures of love. Regardless if it’s a gift for a lover or a child it’s very much a gift of love. One of those old traditions I’m quite sad about losing. Always keen to see them in museums, they usually tell some story. I remember thinking they were magical as a child. To be given music like that seemed just about the most wonderful thing. Maybe it’s even the most romantic thing a younger me could imagine.

    To Dream in one sitting that’s pretty cool. If I’d translate it to writing, it happens that I write all in one sitting and then revise until my face turns blue. Often the very first thing I write down is terribly hard to follow. It’s mostly emotions bleeding into words.

    It’s a very nice detail to know. I think it turned out very good. And showing unfinished work for feedback should always be encouraged. But it is scary showing the work in progress but I guess that is why it’s so important to do.

    I get the impression that this is a very realistic dream as opposed to a surreal one. Nothing bad about that at all just a reflection and it builds up well for Now is Forever. It has a certain movement and seems to carefully whisper those wishes of forever.

    “without you I had not the heart to dream”

    Now is Forever.

    This song of the heart needs its own pause.

    I cannot and perhaps should not hide that it from the very beginning felt like a wedding song. Without being pompous as the dear old ones. It has grandness of ceremony but at the same time spirit, what’s the word, gumption. It has an initiative about itself. Like a lovely balanced crossbreed of old and new that is simply irresistible. A promise. I’d be very, very proud of this piece if I were you.

    I sincerely hope you’ll keep doing versions of this song. Maybe even a music box version if we are lucky. Or any other one. I can’t get enough.

    Forever is a short time when spent with the right one.

    Everlasting, beauty in name and performance, an emotional story.
    Affection, hardship, silence, sorrow, daring, tweeting, dreaming, loving, promise, bliss and infinity.

    A joy to read your thoughts of making these songs. I hope it’s soon time to hear more of your compositions!

    All my love

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