Composer - Producer Max Herman releases single “Unbroken” recorded by harpist Tom Moth of ​Florence + The Machine​ and cellist Gillian Wood (​Lana Del Rey, Dua Lipa)​ released via Two Way Street and Awal.
Composer - Producer Max Herman has released a vivid new single, ​Unbroken​, recorded by ​Florence + the Machine’s harpist Tom Moth​ and renowned ​cellist Gillian Wood.
Inspired by the childhood innocence and wild imagination of his niece, Max Herman’s ​Unbroken ​cinematically explores the instrumental frequencies of sacred harp overlaid with oriental mysticism.
Starting with a gentle playfulness that deepens into a liberating power underpinned by the sonorous ​cello,​ the listener is taken on sensory journey permeated with a soaring sense of adventure and awakening. The track also contains ​meditative​ sounds of ​enchanted forests​ in the West Country, England.
“Harps have so many tones and capabilities - it’s a sacred instrument,” says Herman. “Fate brought us a ​185-year-old sacred harp​ and through its unique sound we explored the idea of spiritual awakening and the joy of creation.”
The cinematic instrumental track was composed, mixed and produced by Max Herman, and mastered at London’s Metropolis Studios by Andy "Hippy" Baldwin ​(The Who, Hidden Orchestra) ​with bass guitar recorded by Drew Campbell ​(James Brown).

Unbroken

Max Herman is a British recording artist, composer and producer. He has composed, written and produced music for multi-platinum artists, the Royal Philharmonic Orchestra, produced and recorded for the late composer maestro Ennio Morricone,  film and major sport opening ceremonies. Herman's works are notable for integrating piano, electronic sounds, synth percussive sounds, soundscapes and beats with traditional orchestral instruments. Max Herman was mentored by composers Rupert Gregson-Williams and Hans Zimmer.
 
FOREVER (single) - 2020
Composed, Produced and Mixed by Max Herman 
Recorded and Performed by Max Herman  

UNBROKEN (single) - 2019 
Composed, Produced and Mixed by Max Herman.
 Recorded and Performed by Max Herman,Tom Moth (Harp) Florence + The Machine , Gillian Wood (cello) & Drew Campbell (bass) . Dedicated to GRP  

INTROSPECTION (E.P) - 2018 
Composed, Produced and Mixed by Max Herman 
Recorded by Max Herman, Aaron Horn (percussion) & Gillian Wood (cello) 
Produced by Max Herman 
 
THE SHINING JEWEL (Album) - 2016 
Composed, Produced and Mixed by Max Herman 
Music from the opening ceremony of the “Shining Jewel” in Saudi Arabia  

DREAMS (E.P) - 2016
Composed, Produced and Mixed By Max Herman 
Recorded and Performed by Max Herman, Gillian Wood (cello) 
 
- Two Way Street Records

A top mission of mine is to collect non-mainstream, relatively obscure, high quality, climactic, resplendent & hauntingly beautiful music: as powerful and soul-stirring as possible. It needs to have that voluptuous catharsis of emotion and feeling. Many people have been moved by my collection, including a classical purist, therefore I know that this playlist contains something worthwhile. 
Criteria: timeless, nearly universal appeal, soaring strings that could split one's heart open, at least one live instrument, preferably be instrumental (no vocals), be of impeccable production, and, of course, be staggeringly lush and beautiful.

I have been collecting from every nook and cranny for quite a long while. (A recent study has revealed that some brains process music in a bit of a deeper way, where each note, chord, or tempo change carries extra special meaning. Music is a language of its own dimension...)

If you think I'd love a track, please send it to me!

The top fifteen most beautiful (in my highly subjective opinion; 
they are beautiful Because they are powerful, in a hauntingly beautiful way that is capable of rousing a state of inner emergency) musical masterpieces I have, so far, ever heard (updated 12/2024), available via the link below:

1.  Aria (Paul Schwartz): Horizon
2. Vanessa-Mae: The Blessed Spirits
3. Sarah Brightman: Deliver Me 
4. Dead Can Dance: The Host of Seraphim
5. Hovhaness: Prayer of Saint Gregory, Op. 62b
6. Mari Samuelsen: White Flowers Take Their Bath
7. Vanessa-Mae: Widescreen
8. Orlando Soundtrack (1994): Pavanne
9. Conni Ellisor: Dream Trilogy
10. Vangelis: Roxane's Veil
11. Aria (Paul Schwartz): Furioso
12. Depeche Mode: One Caress
13.
14.
15.

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(My strange journey to Electronica: 
Mortal Kombat led me to the music aligned with my soul, because Mortal Kombat, at 15,  gave me a sort of rebirth. The Immortals put out a Mortal Kombat CD to go with the video game (hot tracks: "Scorpion", "Kano", "Hypnotic House"), and the 1995 film soundtrack to Mortal Kombat the Movie, was some of my first introduction to electronica. I intuited a way forward to something untamed, powerful like a gale, and driven inside of me, yearning to be known. I had listened to "club dance" music before, but this was different: powerful, transformative, underground, deep, primal, sexy, kaleidoscopic, badass, intense, cryptic, evocative of higher spheres of thought, unifying, and it revived like mother's milk. It was a language I could effortlessly understand. This was my path; listening, I peered into the slumbering, swirling rising power within the collective - a delicious underground rebellion - and within myself (and it must be known that EDM was created by and for marginalized communities.) I felt I was being invited to participate in something enormous (it is through this music alone that I can feel that a massive collective awakening is approaching in our lifetimes. I hear it.) The film soundtrack introduced me to Orbital's "Halcyon and On and On", and the rest is history, because my life had begun. Since this also happened to so many other people, I have to conclude that the universe is... holographic. 
[The music may definitely be off-putting to those that cannot stomach its repetitive, even robotic elements. Those of us that can find in EDM trance-inducing states of consciousness, reminiscent of indigenous shamanism.] )