Matt DeAngelis, an exceedingly talented musician from Turnersville, New Jersey, shapes space in the world of music, where he breathes life into eclectic such as rock, progressive, classical, and folk. The music journey of Matt initiates in the fall of 2016 when the fate brought him together with one Billy Kennedy-the producer and guitarist-at Musically Speaking Studio. This association provided by Matt’s father and co-producer, John DeAngelis, in celebration of Matt’s eighteenth birthday, nurtures a thriving partnership through creative endeavors to last over past eight years. This make and Billy are inseparable musically.
The depth of their sounds casts sophomore shadows on humanity’s fantasies through Billy’s impossible wizardry on guitars, bass, and electric bongos, and the howling vocals, and stylistic touch of Matt on Mellotron. The combined powers of these two noble humans opened for them many stages, among them are Ventnor Beach Pickle Barrel Jam and Dewy Beach’s Bottle and Cork and a whole lot of other casinos within the New Jersey-Philadelphia corridor. Their music has enjoyed airtime on notable platforms such as WXPN, Pandora, and Amazing Radio: thus, Matt DeAngelis forges onward toward speaking up for faith, mental health, and climate change through his music.
On September 13, 2024, Matt DeAngelis’ tender interpretation of Kansas’ “Dust in the Wind” dropped to the world’s aural canvas. It is not a mere cover, but a musing deep and meaningfully in life about its ephemeral character and so importantly urgent to act if we want to face climate change. Co-produced by Matt and Billy Kennedy, as well as John DeAngelis, at Musically Speaking Studios, this fantastic album merges rock, progressive, and folk to convey an everlasting message. This is a cover with Matt’s soothing voice and the harmonious instrumentation from Billy, which carries the message of hope, responsibility, and a reminder that while we may be “Dust in the Wind,” the Earth and its future rest on our hands.
Going to create an opus of musical magic, this is how Matt DeAngelis does his rendition of “Dust in the Wind,” capturing all kinds of emotions and genres to create a soundscape almost impossible to define at its first note. It would seem to carry the listener away into a space in which sound becomes less sensual experience and more spiritual journey. From rock to folk, classical to country, DeAngelis‘ wider spectrum of musical influences makes this rendition of a Kansas classic something truly unique while staying very true to the original. Very original cover; inspires modern yet eternal feeling as DeAngelis pours beauty and urgency into every note. Time, on the other hand, gives the song the enabling power to stockpile itself as a medium that spells important things about the ephemeral state of life and the urgent need for action to safeguard Earth.
Right away, the heady strums of the acoustic guitar recreate the ethereal feel of the song. The sound is clear, fragile, and ethereal; it has a quality that might be called heavenly. This introduction to the guitar is not just acoustic, but it suggests a world of calm as it allows you to remember the very essence of your existence and life itself. A very light touch of electric bongs goes folkish to ground the earthy resonance. And then, it becomes that beautiful, harmonious cocktail that introduces Matt DeAngelis touching the scene; he brings in a subtle, angelic voice to the piece-the breath of fresh air. There is, indeed, a soothing element to his singing with an audible hint of vulnerability layered in the emotional stakes. Each word is pushed with gravity; thus, you really feel the worth in the meaning of the song.
Because, as his voice really brings forth some very apparent music magic with what it does with the guitar and percussion since that play: the ethereal quality it gives this song-the guitar and percussion within a short time will be borne by the transition every time DeAngelis makes when, at exactly 0:55, a double-tracked vocal treatment introduces it to higher playing fields, with the technique adding more celestial flavor. At that level, the track now feels like it is above the earth, and the apparent music stands above the common and transports the listener to his or her peaceful realm of reflection. It also creates part of the most fascinating harmonies in the emotion-packed depths of the lyrics. It shows how finely DeAngelis can mold frail vocal lines onto bigger orchestration: illuminating, strong, and soft voice.
The song is also meant to inspire reflection and meditation, and initially a very soft build-up of the melody. Everything is set just right to cause each single note breathe as well as let the meaning resound. The song’s melodies-the guitar, mellotron, electric bongo, and vocals-all converse like some very well-coordinated choreography, with a few moments allowed that has much time for spontaneous breathing. The tempo, then, even makes the song so private; like DeAngelis exposes this deep truth to everyone. The beauty of this reading lies not only in the degree of sweets but also in being able to give time to the alone people to connect in contemplation.
Between 1:37 and 2:13, the sounds become really strikingly intergemming. Those passages of the song seem heavenly; as if the instruments are talking among themselves into the language of beauty. The sustained notes of the Mellotron are ethereal, while the bass throbs through the sound scape and the electric bongos dance around it. The complex string patterns of the guitar add a final touch of depth and make the present moment appear both colossal and intimate. This is, therefore, the way by which the sound was well balanced. This is the portion of the song that shows off DeAngelis and Kennedy’s artistry in producing a sound that is multilayered melodically while deep in emotional quality.
Subtle yet forceful is the portrayal of the theme of the song-death and transience-reflection on life’s ephemerality. He has reinvented Kansas’ “Dust in the Wind” through a more cohesive conceptualization: from an isolationist concern the original had about individual mortality to a much broader interpretation and then establishing the lyrics’ concern over climate change and mankind’s obligations towards the planet. His understanding of social responsibility is interpreted as a call to arms and not even an examination of personal loss. It reinforces that idea when expanded and given more emphasis, and it is that although our lives are very short, we are all “dust in the wind,” but our imprint on the world can last for decades. This makes a more critical arrangement for the song, reminding the listeners to some extent that their actions count.
It will be more than just a song but will become an experience for the listener. It is going to be a challenge and a comfort directed to the soul. It makes the music beautiful to make them contemplate and engage in thinking regarding how their lives add larger meaning beyond the immediate picture. While DeAngelis certainly pays homage to original, he brings a twist of his own, transforming it into a modern-day anthem for environmental change. His approach is subtle yet very effective as he has a relevant and necessary discourse about the use of music as such.
Matt DeAngelis’ cover of “Dust In The Wind” becomes a masterclass in the convergence of artistry and message. The range riffed along with wide and intimate sonorities – rock, folk, and classical – to form a melodic launching pad for the vault toward a dimension broader than that all too familiar imitation. DeAngelis’ voice, yet more included into the instrumentation, produces a track so timelessly urgent in concurrent theatrical development of mortality, responsibility, and global climate change. Here is a cover worthy not just of good listening but also one to give everyone something meaningful to think about. I recommend it highly to anyone looking for music that is anything but surface. And this is a song to listen to and engage deeply in reflection.
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Listen to “Dust In The Wind” by Matt DeAngelis and many more in our Rock / Electric Guitar Based playlist.
