The aromatically titled ‘Cloves’ relies on the simplicity of the everyday and fabulous piano arrangements, transporting you from the artist’s native dwelling of Mayo to worlds further afield.

A collection of ten tracks, O’Muineachain’s second offering focuses on the concept of meditation, drawing away from the hustle and bustle of the contemporary. The opening number ‘Dusks’ toys with the ideology of day ending and night falling, a soothing yet enigmatic motive. Nimble piano keys with heavier tones peppered between promote an impending change. ‘Sometimes We Fly’ reflects on moments of innocence and wonder. Synthesized harmonies linger in the background while gentle strokes of electric guitar contribute to the easy listening melody. ‘Gom’ whisks you away, aligning your mind upon untrekked paths or new beginnings. Mid-way the song nurtures quick key changes which fade into calm slides, a common thread tying the collective together.

O’Muineachain diverts off course in a beautiful fashion with one of the album’s shortest yet most diverse additions. ‘Interval for Avril’ harbours intricate classical guitar plucking which could easily fit between the crevices of a rugged Western terrain or a foreign tongued cobble street. As the album wades forth, a predicted sameness is evident. ‘The City From Her Bedroom’ offers a sombre tones, comparable to ‘Radaitheora’ where sounds amalgamate naturally into one. ‘Night dreaming’ dawdles upon similar lines, built upon the dark unknown of what entraps the sleeping mind. The Belmullet composer certainly has a knack for setting the ambiance, particularly celebrating the quieter moments of life. Fiery passion envelops the emotive ‘Moonfire’, caught between quick tempered fragments and gradual descents.

Based on its title alone, ‘Forest Frost’ embodies coldness yet O’Muineachain delivers shimmers of warmness, developing an intriguing contrast. You could easily imagine Seamus at his piano, tapping out the guts of this melody on a bitter morning. Hushed bass lines add dimension yet the overall simplicity remains unblemished.

Concluding the whimsical journey is ‘Dawns’, joining the beginning with the end. An upbeat opening of vamping chord changes is quite refreshing and perhaps marks an indicator for a new project as this one wraps up seamlessly. Real character and narration supports O’Muineachain’s 3-minute endeavours, so you can’t say instrumental music is just about meditation or emotional relaxation.

‘Cloves’ genuinely moves the soul; shading the dark while accentuating the light.