We previously featured Magdi Aboul-Kheir when he invited us to connect with notions of universal and romantic love on the evocative and cinematic album, Slow Heat, so when we heard that the composer was back with The Piano Has Been Dreaming, our interest was piqued and we couldn’t wait to immerse ourselves in his sonic universe once again.
The Piano Has Been Dreaming opens with a track titled Echoes of Tenderness. The composition showcases intimacy and cinematic melancholy. We are invited into a layered sonic design, which feels calming and indeed tender, aligned with the title of the track. The softness is apparent, and the track would serve well as the score of a film like A Different Man. We appreciate the astral keys and the brooding bass notes, and the ritardando leading us to the close of the track.
Next up is Beauty, Wine and Truth, which taps into more introspective notions. Again the delicate nature of the keys, reverberating and layered, feels cohesive, bringing to life a tapestry of sound that feels unique to the design of the album. We also appreciate how the title of each track unveils a narrative for the album.
This brings us to Letters Never Sent, once again cementing that narrative and reminding us of books like Wuthering Heights. The melancholy here is evident and the emotional quotient is high. We connect with the intricacy and the poetic grace of the piece, despite the letters never being sent, we can feel their soul.
Next is Sanctuary of Dreams, which builds on the cinematic allure of the album. This could be featured in a pivotal scene of a Pedro Almodóvar movie. It also serves as the longest track on the album, which feels apt, as it truly does form a narrative of its own design. We appreciate the mystique and spiritual depth of the composition.
Gravity of the Heart feels perfect for a film like Interstellar – there is a cosmic notion at play here, and we learn that the overarching intention of the record is to “intimate stories of affection, closeness, loss, grief, letting go and love.”
Magdi Aboul-Kheir shares, “Piano Has Been Dreaming is a sonic journey into in-between worlds – into twilight, into the inner self. On felt pianos and a grand piano, introspective soundscapes unfold: mostly quiet, lingering, soul-embracing, and deeply emotional. Not a single note is superfluous; every tone carries meaning. Eight miniatures, just half an hour, yet an entire world of their own.”
This truly transpires with Gravity of the Heart, where we feel all of this energy coming together. Again, the track slows with a graceful ritardando and leads us peacefully to The Shadow’s Shadow, which is, by name and design, the most dramatic experience on the album. It is heavier than its predecessor tracks, and the dynamics with the pianos and the minor key inflections feels brooding and haunting.
Last Light and Fading Thoughts opens with a more paced energy, inviting introspection and contemplation. The arpeggio riffs are sublime and loop like a mantra, creating a sense of peace and a sentiment akin to the final scenes of a film.
This brings us to the closing chapter, Eternal Home, which opens with an almost existential nature, reminding us of the expansiveness of the universe. It also reminds us of scenes from Darren Aronofsky‘s The Fountain, which really taps into cosmic notions. The use of the highest keys in the album cements the more celestial nature of the composition which feels like an ascension into the astral realm.
Overall, The Piano Has Been Dreaming is a masterpiece and seems to live as a metaphor for life, and our own illusion. It is no surprise that he composed Bold Horizons, the official opening piece for Nexuscon 2026 – a science fiction convention held in Berlin, celebrating 60 years of Star Trek. This all makes sense, and we are inspired by the cosmic energy that Magdi Aboul-Kheir can manifest with pianos alone.