“I don’t want to predefine my genre or have an instrument-centered composition (e.g. piano). I see music as a mix of sounds that create emotions. Emotions can emerge in any music form. I picture music as images; each of them is associated with an emotion. This album (Catching Moments In Time), is a journey throughout experiences I lived and tried to translate. My goal is for the listener to adapt it to their own, mix it with their emotions and create their own images”. By these words, the Tunisian composer Haythem Mahbouli introduces his brilliant release landed on the Japanese label Schole and feeding the expectations following such an introduction since the symphonic breezes of the opening "Catching The First Moment", whose piano and string driven grandeur mirrors the one of the closing "Catching The Last Moment", opening and closing brackets detaching the musical padded bubble of the aural experience he offered. Two big names of contemporary music scene sustained the emotional flight by this guy, who reprised his compositional work after a hiatus following his settlement in Montreal after the Tunisian Revolution in 2011 and the start of a job as sound designer for gaming industry: the name that most of our readers would recognize is the one by Taylor Deupree, who cared the mastering of the album, while the name that you wouldn't maybe expect, even if it makes sense considering the strong component of classical music into the recipe by Haythem is the one of City of Prague Philarmonic Orchestra, playing strings all over the album. In between the two brackets, many layered emotional sounds flood over listeners' eardrums and souls and the way such a flood gets organized through frequent crescendo, overlapping symphonies and the implant of spooky operatic parts could break the emotional banks of many of them. Some voiceovers have been embedded in some ascensional movements of this album, recorded as if they were transmissions from outer space and quoting lines by American poet Robert Lee Frost, such as the one from Birches: "I'd like to get away from earth awhile / And then come back to it and begin over". They sound consistent with the mood of the album - sometimes getting closer to the cinematic style well expressed by Jóhann Jóhannsson or Hildur Guðnadóttir, particularly in tracks like "Passage" or "Transition" -, whose general dynamics seems to activate different emotional or mnemonic areas before cathartic explosion, partially emulating techniques normally belonging to soundtracks. Awesome output!