Martin Lloyd Howard’s new single “Selene” is a quiet, carefully shaped piece of music that speaks through tone, space, and restraint rather than volume or spectacle. Written for solo classical guitar in G minor, it stands apart not only because of its uncommon key for the instrument, but because of its intent. This is music designed to be felt slowly, in light and shadow, rather than consumed in a rush.
The inspiration behind “Selene” is deeply personal. Howard composed the piece in response to a moonscape painted by his wife and named it after Selene, the ancient Greek goddess of the moon. That visual origin is more than a footnote. You can hear it in the way the melody drifts, how phrases appear and recede like clouds passing across moonlight. The piece aims to evoke pale brightness, movement, and quiet atmosphere, and it succeeds without ever becoming decorative or sentimental.
Central to the sound of “Selene” is the instrument itself. Howard performs the piece on a fifty-year-old hand-built classical guitar, whose tone is described as both warm and crystalline. That character is immediately audible. The low register carries a gentle depth, while the upper strings ring with clarity that never feels brittle. There is no excess in the recording. Each note is given space to breathe, allowing the natural voice of the guitar to shape the emotional arc of the music.
Howard’s background helps explain the balance this piece achieves. Trained originally in the classical tradition, he has since expanded into folk, blues, and rock, working across electric, acoustic, and slide guitar. In “Selene,” those influences do not compete. Instead, they quietly inform the phrasing and structure. The composition is grounded in classical discipline, but it carries a contemporary openness in its pacing and melodic choices. It does not feel bound by academic form, nor does it drift into vague ambience. It sits in a thoughtful middle ground.
Part of Howard’s stated aim is to fill what he sees as a gap in the market for original nylon-string guitar music that blends classical and modern sensibilities in an accessible way. “Selene” makes a strong case for that mission. It is not technically showy, yet it is far from simple. The piece invites repeated listening, revealing subtle shifts in harmony and dynamics that might be missed on first pass. It rewards attention without demanding it.
What also stands out is the emotional clarity of the work. Instrumental music often risks becoming abstract or detached, but “Selene” feels guided by a clear image and purpose. The moonlight theme is not imposed on the listener, yet it gently shapes the listening experience. The music suggests stillness, distance, and soft movement, creating a contemplative atmosphere that feels natural rather than constructed.
Howard’s broader career, including collaborations with artists such as Mark Johnson of The Midnight River Crew, shows a guitarist comfortable in many settings. But “Selene” is resolutely focused. There are no distractions, no layers beyond the single guitar voice. That simplicity is the piece’s strength. It trusts tone, timing, and melodic intent to carry the listener.
“Selene” is not designed to impress through speed or complexity. It is designed to resonate. In a musical landscape often driven by immediacy, Martin Lloyd Howard offers something quieter and more enduring: a small, luminous work that invites reflection, shaped by craft, memory, and a deep respect for the expressive power of the guitar.