We recently featured Jacqueline Cordes when she teased her album Frozen Star with the whimsical and cinematic track, Illusions of Amethyst, so when we heard that the entirety of Frozen Star had been released, we were curious to say the least and couldn’t wait to listen in full, and break it down, track-by-track, just like we did for her previous album, Singularity!

Frozen Star opens with Illusions of Amethyst – manifesting a dimensional piano performance with a timeless and cinematic energy that echoes a minor-key waltz. It carries a dramatic allure and expands into luscious vocal harmonies – starting ethereal and then reaching an astral range. The pizzicato strings and delicate bell tones evoke a fantastical element reminiscent of Alan Menken’s Beauty and the Beast. The piece is moving, immersive, and poetic, showing deep instrumental mastery and unfolding a whimsical narrative. The music is linked to a deep purple colour through the composer’s synesthesia, embodying mystery and melancholy.

This leads us to Verdant Heart which opens with plucked details intertwined with a grandiose strings arrangement – echoing notions of Spring with high bell nuances and an elegance that feels highly cinematic. Perfect for a scene from the upcoming Avatar movie. There is grace and depth with poetic balance and a sense of serenity – an awakening if you will. A brooding cello emerges as the emotional quotient of the piece expands, drawing us deeper into the universe that Jacqueline Cordes is creating.

Next up is Transience which opens with a singular repeating note, layered with a subtle piano, rising in drama with strings, evoking a sense of intrigue. The piece is ethereal in nature, and the title evokes a sentiment that feels like a dimensional shift – meditative and almost mantra-esque.

Entering the Dreamscape feels delicate and reminiscent of the more whimsical style of composition that the album exudes. We appreciate the layered piano and cosmic bell tones with strings that invite us to escape further into the composer’s otherworldly mindset.

This brings us to The Skyship of Dreams which boasts allure and intrigue – as if we have arrived in the alternate dimension that Jacqueline Cordes has been teasing thus far. There is celestial nuance and a sense of wonder that is brought to life. The bass tones are more metallic, grandiose – like Elphaba and Galinda arriving in Oz, or an astronaut finding the ISS. The sense of wonder is amplified mid-way through the piece, like a door has opened and we have truly arrived.

Shadowland opens with metallic textures and haunting drums with mystical keys. This alludes to a darkness, perhaps within, perhaps beyond, but indeed something we want to overcome. The piece invites introspection, there is still a meditative nature to it, but our curiosity is piqued – which part of Jacqueline Cordes‘s universe are we in now? The dramatic nature of the composition builds with almost dark operatic synths. We are transfixed, have we met our match? The track feels like the notion of addressing one’s internal demons.

This brings us to Realm of the Red Sun – our pursuit of vanquishing the darkness. Through the clouds and haze of the underworld, we are rising with solar power. It feels like the score to Game of Thrones or Gladiator. We are awakened and reminded of our internal power.

Ordo ab Chao feels more experimental, like time is ticking away. Choral synths haunt us once more – have we regressed or is this just the ebbs and flows of life? Rippling water sounds surround us as we continue to wait for the outcome. The vocal synths mimic the title of the track, which is truly a genius addition. We actually learn that Ordo ab Chao is a Latin phrase meaning “order from chaos”, which makes a lot of sense for the wider narrative of the record.

This brings us to Dance of the Dead, a cerebral twisted fantasy like Pinocchio forced to dance for Stromboli, but with a darker more Tim Burton-esque edge. This certainly reigns true with reference to the original concept of the album and accompanying visuals. We love the vocal synths – they are sublime and magnetic.

Father and Daughter – End Credits feels like a scene from Amelie, full of grace and with sublimely emotive instrumentation. We appreciate the poetic respite from the darkness, and connect with the notion of family. Existence follows with a folk edge, almost like a descent to Earth. We find salvation in the minimalism and peace in the calming nature of the synths.

Finally, Reflections of Solitude reminds us that we came to Earth alone and with nothing and that is how we will leave. Those of us who are lucky enough to forge a legacy may leave behind echoes of our existence, but ultimately, we return to the same quiet solitude from which we began. It reminds us of Clint Mansell in many ways.

All in all, Frozen Star not only showcases Jacqueline Cordes‘s exceptional talent and synesthetic vision but also reveals a composer ready to bring cinematic magic to the big screen. If you’re looking for a fresh and evocative voice in film composition, this album is a compelling introduction.

The post Jacqueline Cordes guides us on an emotive, cinematic journey through a prophetic narrative arc with her new album, Frozen Star appeared first on KIMU.

We previously featured Jacqueline Cordes’s Singularity which served as a multidimensional experience and a synesthetic journey through sound, space, and the depths of human emotion, so when we heard that the talented, 22-year-old neoclassical composer was back with Illusions of Amethyst, we were curious to say the least, and couldn’t wait to listen and share our experience.

Illusions of Amethyst provides a dimensional piano performance with a timeless and cinematic energy echoing a minor-key waltz. There is a dramatic allure attached and the piece expands with luscious vocal harmonies, at first ethereal, and subsequently tapping into an astral range.

The pizzicato strings and delicate bell tones remind us of Alan Menken‘s Beauty and the Beast. There is a fantastical element that emerges from the opus, it is moving, immersive and poetic with deep rooted instrumental mastery and a whimsical narrative that unfolds.

We learn that Illusions of Amethyst is taken from Jacqueline Cordes’s album, Frozen Star which is designed to transport listeners across the Chromaverse. This release marks the first stop, and it brought to life by the accompanying visual – The Puppetmaker, a music video created for the composition, Illusions of Amethyst. The cinematic video tells the story of a mysterious masked puppetmaker who we witness meticulously performing his sacred craft in an abandoned world.

With reference to the artist’s gift of synesthesia, Jacqueline instinctively sees a deep purple for Illusions of Amethyst – as portrayed by the title of the track – a colour her synesthesia links to mystery and melancholy. It shares this hue with Schubert’s Gretchen am Spinnrade and Flaherty’s Once Upon a December – pieces she also experiences in shades of violet.

Jacqueline’s debut album Singularity explored ancient and futuristic soundscapes, while her upcoming album Frozen Star, set for release on August 8th – the date of the Lion’s Gate Portal, promises a brighter, more vivid experience. Together, the albums form a journey through the Chromaverse, with each track opening a new, immersive world.

A Pomona College graduate in music composition, Jacqueline won the 2025 Gordon A. Hogan Memorial Prize. She’s performed on KSPC and at various events, co-headlining fundraisers and giving lecture-concerts on synesthesia and musical modes. Also a polyglot, digital artist, and writer, she’s presented at the Fibonacci Conference and has an academic paper forthcoming. Her dream is to become a full-time film composer.

Naturally, we have added Illusions of Amethyst to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream the wider discography of Jacqueline Cordes, and anticipate the entirety of Frozen Star!

The post Jacqueline Cordes teases her upcoming album Frozen Star with a whimsical and cinematic new opus, Illusions of Amethyst appeared first on KIMU.