The idea for Turned Over to Dreams came after DMM learned that close friends of his were using one of his previous albums as a bedtime lullaby routine for their children. So he decided to make some new recordings to help out. “I just felt so honored that the songs were being used in that way, and I wanted to see what would happen if there was even more intention behind the recordings,” he says. “Along the way, it expanded into a whole batch of songs and eventually into this LP.” While it may aid in getting the kids to sleep, this album might not do the same for the adult listener—it’s so beautiful we won’t want to nod off for fear of missing something wonderful. DMM’s work has always been known for its meditative quality. His trademark combination of velvety vocals and a masterful use of instrumentation— often featuring his piano skills—naturally evokes a peaceful mood. Turned Over to Dreams surely contains some of his best compositions, singing, and craftsmanship on an effort he produced, recorded, and mixed himself. “At every step I was consciously doing my best to evoke peace and gentleness and love and care,” Moore says. “I took a moment before each take to bring forth the most peaceful frame of mind & spirit that I could.” Moore’s eighth full length recording opens like a music box with the tender plucks of keys on its title track, and features heartfelt lessons on “Consider the Worlds”, the ache of pining on “You Are Home”, and four carefully chosen covers that range from a 1960s standard, “Touch the Earth”; a haunting interpretation of Brahm’s Lullaby; his own spin on the ever-popular “Stay Awake”, and even his recording of the Mr. Rogers’ classic “It’s Such a Good Feeling.” Moore says he can hardly get through singing it without tearing up, articulating an entire generation’s endearment to the children’s television legend. All of this is punctuated by wonderfully varied interludes like the rising strings of “Amid the Stars” or the soothing electric guitar found on “Drifting” that make for an album that provides a much-needed respite. Moore chose to record in A=432 (slightly flatter than modern tuning) because of its ability to capture a more mellow sound. “The instruments sing and resonate in different ways with the tension lessened and loosened,” he says. “The voice itself takes on different shades and overtones, hitting notes and frequencies that don't exist at sharper tunings, and that I had probably not ever sung before.” Many musicians share a deep love for this unusual tuning, and some even point to the fact that the 432 ratio shows up in the natural vibrations of celestial bodies and number sequences found even at the level of DNA. The number 432 is reflected in the ratios of sacred sites like Stonehenge, the Great Pyramids, and many others. Moore was using everything he could to create a warmer and softer and more deeply connected listening experience. The result is the album we need right now for trying times, a record that encourages us to be still, and most importantly, to listen.