Ian Rushton is an Auckland-based keyboardist and singer/songwriter who releases CDs regularly through his own Black Sands Music label. This latest set of songs comes as a tribute to the country - with the tongue in cheek rugby tribute Paddocks and the title track, which essentially was the catalyst for the project. Rhys Jones, a school friend of Rushton's is the main composer of that track, from there it inspired Ian to think about what he loved around Auckland and NZ. There's a tribute to Sir Edmund Hillary (Edmund) and other overt references (Queen Street). Opening track Travelling South buzzes along in the spirit of Jean Michel Jarre (a huge influence on Rushton's musical palette) and elsewhere you will hear touches of Pink Floyd, particularly the group's later work. If you have liked Rushton's previous, prolific output then you will enjoy plenty from this landing too.

Ian Has Written The Score To My Day-Job Commuting… "Yep, indeed. There’s many an evening I drive off into the sunset from the damned day-job with Ian’s music in the CD player unfurrowing my brow and providing optimism for my evening ahead …and confirmation that the world of independent music-making is a fine place to be. Ha! There’s something cleansing about Ian’s music! From Dusk To Dawn is a favourite takes me to another place. And Simply Devine has an open-hearted romanticism that is kept far, far from any hint of sentimentality or schmalz by razor-sharp guitar work. My own penchant for harmonic treats often causes me to smile at the smartly pointed chord voicings and modulations. Production-wise, this issue is up with the very, very best. A happy liaison of art and craft.

This a return to Rushton's piano-based instrumental style of earlier albums "All That You Need" and "Something To Live By". There is no question that Rushton can play and has orchestrated and arranged some fine ambient background music here. I imagine this to be a sought after release for nail clinics, masseuses, physiotherapists and acupunturists - or for doctors' and dentists' waiting rooms. And I'm not suggesting that with any cynacism or sarcasm. Rushton's music is reminiscent of the Phil Coulter school of piano, or Jean Michel Jarre's early 1990's work, where he eshewed the synths for a gentler; more melodic, straight piano aproach. But Michael Nyman or Philip Glass this is not! "Spring..." is his fifth album release since December 2002 and with two further albums apparently planned this year, it might well be an idea for Ian Rushton to slow down, change course somewhat and branch out into collaboration. I could see him making a fine musical director or arranger for a talented young diva.

This is an album of great musical diversity, of extreme national pride, light and shade, highs and lows. An entirely instrumental work, with many local and overseas guests. Rushton makes his presence felt on angelic-sounding acoustic piano, but there is also some outstanding guitar work (including dobro, slide etc), as well as a tight rhythm section. Adrift sounds like a collaboration between Coldplay and Joe Satriani or Steve Vai. The musicianship is such that even extremes of musical changes sound completely natural and harmonious. But in the end, this is Rushton's baby, he composed, produced and mixed "Black Sands" himself. The CD liner notes don't list individual performances unfortunately, just names. The photography and design of the cover are stunning, although the actual disk is far from professional. That aside, Rushton has a masterpiece on his hands. "Black Sands" evokes such powerful images it is impossible not to be enchanted by it.

Incredible. A Kiwi keyboardist/songwriter/producer teams up with several musician/songwriter/co-writers from around the world...and they never meet! They all send their tracks from their home countries via email. The result is an exciting, varied set of easy listening, contemporary, melodic pop rock, with and obvious international flavour. Ian Rushton is "New Zealand's answer to Richard Clayderman" - a UK-born, self-taught pianist and guitarist. "The Cybase Project" is his third album since 2002. Rushton never gets in the way of the international soloists; instead preferring to colour the tracks with celestial light. German Wolfgang Menzel is the vocalist/collaborator on most of the album, and he brings an almost Axl Rose quality to the tracks. Contributions come from countries as varied as USA, Canada, Sweden and China! Technology has come so far that you can create an international album without leaving your bedroom.

"The best way I can think to descibe Ian Rushton's style, is some thing of an antipodean Clayderman. This CD of original predominantly piano instrumental music would work well as a soundtrack to a cendelit dinner, or to soothe frazzled nerves in rush hour traffic. Rating highly on easy listening charts for net downloads on www.mp3.com.au, this isn't likely to feature on Top of the Pops, but does prove that there is a healthy market for music that calms and soothes. This follows his debut album "All That You Need" and there's gotta be something Kiwishly self effacing in citing the recording location as "a small room somewhere in Mt Wellington", rather than concoting a grandiose name for a home studio. Yet the quality, arrangement, originality and musicianship belies it's humble origin. All tracks were composed, performed, produced and engineered by Rushton, with the edition of Peter Forster playing Indian flute on "Noon". Obviously largely performed electronically, it seems that Rushton has commendably resisted the urge to over-produce with too many sounds. A good example of tasteful synthesis and midi, without overcooking it"

Ian Rushton's debut album is a collection of 11 original piano-based instrumentals. Recorded in his bedroom in 2002 and mastered by David McQuarie at studio 301 in Australia, Rushton has a developed piano style which falls somewhere in between Pierre Wauters and Richard Clayderman and is a tribute to self taught keyboard players and DIYers everywhere. Rushton composed, performed and programmed all of the tracks with the exception of a guitar solo (a highlight and aural relief) on "Shakuhachi", which was performed by Bob Melanson. Throughout the album there are additional 'nature sounds' provided by Peter Forster of Star Sound Music that seem completely superfluous and detract from the otherwise fairly well executed arrangements, but then maybe I might need an aura adjustemnt or possibly more tofu. If you enjoyed Pierre Wauters "Nouveau Piano" then add this to your shopping list.