Hit Me Music proudly presents DJ Reset’s first ever studio album, “Speaker Bunny” available now digitally worldwide. The highly anticipated set includes original music written, produced, and performed by DJ Reset, the critically acclaimed recording artist and producer who made history with the first commercial mash-up released on a major record label.

http://www.hitmemusic.com/Crush.mp3

“Speaker Bunny” is out now on Hit Me Music and available at iTunes, eMusic, Amazon, Rhapsody, Napster, GroupieTunes, mTraks, Last.FM, Audio Lunchbox, Ruckus, Mbop, Lala, and Track It Down

For more information and licensing inquiries, please email marat@hitmemusic.com

About Hit Me Music
Hit Me Music, LLC is a music-based content and talent management company with the mission statement to establish and build a global entertainment brand. For new media and latest news on Hit Me Music, visit the label online at http://www.hitmemusic.com

Label: AMAdea Records

Album: U

Genre: POP/Electronic

Buy CD

ARTIST DESCRIPTION

Founded in 2001, Gravity Co. started out as a side project, working on the soundtrack to the computer game Trans, side project turned to full-time and they haven’t looked back since.

In early 2002 Gravity Co. made their debut, releasing their first single ‘Away’ accompanied by an art-school style video directed by Gravity Co.’s Producer Georgi Stanev. The bands first try topped MM TV’s (Bulgaria’s most popular music television) International Airplay Chart, holding on to the #1 spot for three consecutive weeks. ‘Away’ would later be included in NovaXposure - the monthly compilation released by ‘Radio Ventures’ with songs by Elton John, Sarah Connor, Alcazar and others.

Gravity’s second single ‘Mr. No One’ would set the critics straight, as to the bands potential, taking a play-list space in BMG’s official weekly video compilation, alongside Carlos Santana and Christina Aguilera.

The band stretched the boundaries further when Bill Withers granted official permission to record and release a cover version of his all time classic ‘Ain’t No Sunshine.

‘Away’, ‘Mr. No One’ and ‘Ain’t No Sunshine’ all made the cut for Gravity Co.’s highly anticipated debut album ‘U’ released December 13th 2002. Gravity, have since been identified by an original electro pop sound, with warm vocal melodies over pumping electro beats.

An instant success, ‘U’ brought home the first music awards - ‘Best Debut’ and ‘Best Pop/Dance Album’, from MM TV’s annual awards (the Bulgarian equivalent of the Brits).

Having released two celebrated albums, known for their engaging stage antics - performing full capacity venues and supporting the likes of the Stereo MC’s, Fun Lovin’ Criminals and more recently Ladytron - Gravity Co. teamed up with a wide range of popular Bulgarian DJ’s to remix some of the band’s hits.

AWARDS

- ‘Best Debut’ and ‘Best Pop/Dance Album’, from MM TV’s annual awards (the Bulgarian equivalent of the Brits).
- Holding on to the #1 spot for three consecutive weeks in the MM TV’s (Bulgaria’s most popular music television) International Airplay Chart.
- ‘Wings’, the first video by a Bulgarian Artist with airplay on MTV! Boasting Giorgio de Chirico inspired 3D animation - courtesy of one of Bulgaria’s finest Alexander Sokerov - ‘Wings’ would be played 13 weeks running on MTV’s World Chart Express.
- ‘Best Band’ from the annual MM TV awards of 2005. An additional ‘Band of the Year’ award was presented by Melo TV Mania’s annual awards.
- ‘Best Rock/Alternative Song’ for ‘What I Want’ (‘Instinct’ 2005) from the annual MM TV awards 2006
- On the 25 of March 2007, minutes before taking the stage to contribute a mind-blowing ‘Empty World’ against a multi-media frenzy, on the night of the BG Radio Music Awards Ceremony, the boys were called to the stage to collect the ‘Best Band Award’.
- Gravity Co. are the uncontested winners at the MMTV Music Awards, with the record 4 statuettes:
Best Pop/Dance song - Empty World
Best Pop/Dance Album - Mixedup
Best Band
Best Music Video - Empty World /Directed by Valeri Milev/

MUSIC QUOTES

The debut album “U” by the most successive Bulgarian’s band Gravity Co. is from those releases that on the first listen, you knew something amazing was happening but didn’t quite grasp it. By the second listen, you are hooked. By the third, fourth, and fifth listens, you realized you had stumbled upon a rare gem. The album range somewhere, between pop and electronic music with eminent contemporary elements, which sometimes even goes beyond the expectations. But to those with patience and an ear for the sublime, this will become one of the most rewarding and satisfying electronica albums of the decade. The sheer talent in this record is staggeringly high. Not only these guys have reached a new tier of studio production and aesthetic precision, but on top of that, the vocals are truly incredible. More importantly, it’s noticeable in the sequencing and mastering of each perfectly-layered sound. Listen on a solid, high-end system, and all the textures will open up and dance across the room in perfect balance. “U” has achieved a new level of greatness and this is easily some of the best music albums you could have in your collection.
- AMAdea Records, BULGARIA

If you like you can check the CD here.

Polarity/1, the multi-genre artist best known for bold, honest, hard-hitting songs, is re-releasing his hit album, Yankin’ the Food Chain, now with re-mastered tracks. Polarity/1’s music has been incorporated by dance theaters and documentarists, including Danny Schechter’s feature-length film documentary ‘In Debt We Trust’ and Battery Dance Company’s 26th Annual Downtown Dance Festival last year.

Yankin’ the Food Chain fuses electronica, acid jazz, alternative and electro-folk to create a set of funky-fresh beats infused with crucial political messages to future generations. The serious issues covered on Yankin’ force listeners to reanalyze their own ethics, especially when cornered with their own self-images in “Look at Your Shoeshine”: “Can you see yourself in your shoeshine?/ Step back!”

From the excitingly chilly vocals of “Salesman,” to the persuasive political raps found in “News Goo,” to the astoundingly real lyrics of “Di Hard” (”The good die young/ and the bad get paid”), Yankin’ has something to offer every music-lover. Perhaps most notable, though, are the album’s funky, upbeat tracks, such as “Boomers Blues,” “Jam Inya Jimmies” and “Cincinnati Pink.” With lyrics like “She’s catchin’ the groove and won’t let go,” it’s obvious that once you put on this Polarity/1 record, you won’t be letting go of the groove either.

Buy Yankin’ The Food Chain:

But don’t take our word for it; here’s what others have to say:

“Polarity/1 is a musical force unleashing some of the hippest beats and timely lyric[s] on the scene” (MediaChannel.org).

“‘Di Hard’ is a medium tempo groove with rapped and sung vocals, everything done by Polar except for exquisite backing vocals by Scott Parker Allen and Sabina Sciubba. The song is a comment on Princess Di’s demise, the role of the media, and the times we live in, serious without becoming sentimentalized or preachy. An interesting exercise in a style that’s very hard to pull off” (Recording Magazine).

“Polar succeeds in his mission of forcing you to pay attention and not lull into the sounds you ‘expect’ to hear” (StarPolish.com).

The music of Polarity/1 is exactly what the name suggests—”conjoined opposites,” including the new (cutting-edge electronica, hip-hop and nu-jazz) and the old (roots music of America, including blues, funk, country and early jazz, Brazil (samba, pagode, etc.) and West African groove science).

After a few years of playing percussion in samba bands at S.O.B.’s and other venues. Polar landed in hip hop which combined his interests in grooves, samples and wordplay into one form. He and rapper D.A.V. became Medicine Crew. In the aftermath of 9/11, Polar was asked to do a remix of Nile Rodgers’ We Are Family Project released on a compilation by Tommy Boy Records. His experience of 9/11 which was perpetrated in his neighborhood led to a collaboration with multi-platinum Pakistan rock band Junoon resulting in their hit song ‘No More’. John Hollander has choreographed four Polarity/1 compositions for New York’s Battery Dance Company’s fall season opening in November 2006 and has been touring extensively with the piece. In 2008, he scored “The Other Side” for the Quorum Ballet from Lisbon Portugal. P/1’s new collaboration, Koko Dozo, released their first album Illegal Space Aliens in February 2008.

And you can check out Polarity/1 for yourself and learn how to purchase Yankin’ the Food Chain by heading to www.musicdish.net/polarity1/

Maybe you’ve noticed that America’s debt industry — based on legalized loan-sharking — has created an economic crisis that threatens to go global. On a more local level — millions of families are facing home foreclosures and bankruptcy. And the credit card offers just keep flowing into our mailboxes.

“The avalanche of propaganda from the US debt industry with offers of ‘cheap’ credit is downright immoral as millions of families see their homes foreclosed,” noted NY-based multi-instrumentalist/arranger/composer/producer Polarity/1. “Having long worked on the subject, I felt I had to do something in order to educate Americans and counter the propaganda”

Polarity/1, a multi-instrumentalist/arranger/composer/producer, was one of the early voices warning of the impending debt crisis, having composed most of the score and served as Music Supervisor for Danny Schechter’s feature-length documentary IN DEBT WE TRUST. Focused on America’s dangerous addiction to debt and the predatory nature of our credit and loan industry, the film predicted over two years ago the economic meltdown being experienced today. And he’s now making the message available to the public, offering all his tracks from the documentary - including “Free Money,” “Charge It,” “Free Money Blues,” and “I’m So Broke” - as free MP3 downloads at www.reverbnation.com/polarity1

The music of Polarity/1 is exactly what the name suggests: conjoined opposites — a mash up of new: cutting edge electronica/hip hop/nu-jazz and old; roots music of America (blues, funk, country, early jazz), Brazil (samba, pagoda, etc.) and West African groove science. Polarity also describes the dual streams of Polarity/1’s musical output: songs and instrumentals.

After a few years of playing percussion in samba bands at S.O.B.’s and other venues. Polar landed in hip hop which combined his interests in grooves, samples and wordplay into one form. He and rapper D.A.V. became Medicine Crew. In the aftermath of 9/11, Polar was asked to do a remix of Nile Rodgers’ We Are Family Project released on a compilation by Tommy Boy Records. His experience of 9/11 which was perpetrated in his neighborhood led to a collaboration with multi-platinum Pakistan rock band Junoon resulting in their hit song ‘No More’. John Hollander has choreographed four Polarity/1 compositions for New York’s Battery Dance Company’s fall season opening in November 2006 and has been touring extensively with the piece. In 2008, he scored “The Other Side” for the Quorum Ballet from Lisbon, Portugal. P/1’s new collaboration, Koko Dozo, released their first album Illegal Space Aliens in February 2008.

Check out IN DEBT WE TRUST — the scariest movie of the century. www.indebtwetrust.com (Better hold the butter on the popcorn.)

To get more information on these issues, assistance with debt problems and ways you can fight back — go to www.stopthesqueeze.org

Karen Young, considered one of Canada’s great jazz singers, has been invited by CIRPA (Canadian Independent Record Production Association) to perform their London Calling showcase “Canada Presents Canadian Blast!” Introducing material from her upcoming album with composer and bassist Eric Auclair, the showcase will be held at The Borderline on June 19th, 2008.

Canada Presents Canadian Blast!
London Calling
June 19th 7:30 PM
The Borderline
Orange Yard off Manette Street, London

Voice and double bass in duo is a favorite jazz combo. Powerful, rich and lace-like textures, delivered beautifully by Eric Auclair’s sampling, pre-recorded and live, are used as sound-track to Karen’s crystal-clear voice and poetic songs. ElectroBeatniks, the title to this duo concert and upcoming CD, brings their jazz into the 21st century. Now in the final stages of post-production, the album is scheduled for an early fall release, followed by a series of concerts featuring this unique jazz/electro fusion.

Video performance on February 1, 2008 at Chapelle Historique du Bon Pasteur

Considered one of Canada’s great jazz singers and Fusion/World specialist, Medieval music autodidact, songwriter, composer, arranger, Karen Young’s vocal range and control and her passion for music have enabled her to attain success in various musical genres. Awarded Artist for Peace in 2003, Karen also received RIDEAU Career Prize the same year - Quebec’s venues and events programmers professional association.

Album producer/coproducer, Karen also wrote, composed or arranged her eight CD titles under her label URSH Records since its inception in 1992, among which Canticum Canticorum - a specialized Medieval / Mediterranean / Jazz Fusion CD than sold almost 10,000 to date in Québec only.

Future Psychediscorama With Koko Dozo’s Illegal Space Aliens
Brothers and a Sister From Another Planet

By Mark Kirby, MusicDish e-Journal

One night several years ago at an Irish pub in the East Village of New York City, the discussion of music turned to disco. It involved musicians and people over 40 years-old, people who might know what they’re talking about. Several of us were, in the heyday of Studio 54 and the disco era, into punk rock. Others of us were — me especially — strictly jazz heads. I reminded my friend of lonely nights in college smoking out of a four-foot bong and listening to Zappa and John Coltrane and wondering how to meet girls. They were at the campus disco parties, while we were above it all. And alone, getting in touch with ourselves.

Now a guy walked into the bar - no, this is not a joke, this is true - leans over and asks Nancy, the bartender, to put on a CD he brought. He had a box set called 100 Disco Hits and wanted to hear it. She put it on over a few protests and by the third cut half the bar was up dancing. “This shit is great, what were we thinkin’?” What were we thinking? The cuts that he played — “Boogie Nights,” “Disco Lady,” “Ain’t No Stoppin’ Us Now” — were all songs with soul power. Killer musicians, great singers, and songwriters that had some skills were at work on these gems. So many of the songs that turned off the young cynic back in the day — and I was one of them — now sound like musical versions of the politics of hope. Besides the quality of the music and the infusion of beer and liquor, these cuts stood out because the party music of today consists of desperate, vapid consumer fantasies “sung” over prepackaged, overly mechanized “music.” From Justin Timberlake to Mariah Carey, this is what dance music is all about. Like rap agitators Public Enemy asked back in the ’90’s “who stole the soul?”

These memories and thoughts came to mind while listening to Koko Dozo’s new CD Illegal Space Aliens. The band members present themselves as bizarro characters. Chief producer Polarity/1, who created the beats and sounds that make the backbone of the music, dresses like a pro wrestling manager who is channeling Sun Ra. Though using synthesizer sounds, drum machines, and synth bass, his music has a distinctive, organic quality, a certain freshness and vitality. Rubio — the self-described “multi-brained, Viking, Satanic wizard”; complete with Viking helmet and wizardly robe — provides funky, jazzy keyboards that flesh out and add spice and musicality to the grooves. Singer Amy Douglas, the “Inter-Galactic Empress,” looks like a grown up Punky Brewster turned dominatrix from Brooklyn by way of worlds beyond. But for all the outer spaceness of their image and electronic sounds, the music on Illegal Space Aliens is rooted in the organic soil of the disco, funk and soul of a bygone era.

The CD starts with dense electronic sounds that morph into a groove consisting of bass, a looped piano chord, and a beat made of these dense sounds, on the opening cut “Second Time.” Amy Douglas brings flesh and soul to this cyborg of a song. With musical experience covering punk cabaret, funk with George Clinton and down-home jazz with Illinois Jacquet, she has the pipes. She also has the musicality and taste to do it just right. “Face on the Dance Floor” starts with disembodied female voices and a vocal loop of laughs. A house beat kicks in and Douglas busts out with a Donna Summers-like vocal blast: “You know you got that face… hold your face on the dance floor / wave your feet in the air / make us believe that you don’t care / smash your face on the dance floor / put your kicks in the air / wave it some more put your fuckin’ face on the dance floor.” The song grooves along with interesting musical riffs and keyboard counter melodies, as Douglas goes off. The backup group female voices come back and the song’s next verse comes in. These little touches elevate this and other songs on the CD above average, boring house and dance music. You can dig this music without drugs or dancing.

Koko Dozo - “Face On The Dancefloor” Live @ Nacotheque

Some of the album’s cuts resemble the classic disco of the’70’s and ’80’s. “Boomchi” has that signature four-on-the-floor drum beat, offbeat funk bass lick, and soulful strings. The vocals come in like Chic’s classic “Good Times.” Busting out in Spanish, Douglas lets fly some wailing diva vocal blasts. The song’s break down features bass drum, breathy, chanting vocals, and an over-the-top spew in Spanglish by Rubio. Euro disco brought in the dominance of synthesizers and more mechanical rhythms. “Shine” is in this mold, but the piano licks and, once again, Douglas’ voice gives the song a human face: “Shine a light / I need to know that I’m alive / Shine a light / guide me to your secret side / give me breath that can revive.”

Koko Dozo mines other types of music, particularly the expansive side of soul and funk, on the slow jam “Down.” This features sweet lead and backup vocals, as well as chords that move and glide in an extended middle part that seems to drift away. Then, from silence, the song starts up with vocals that remind one of soul diva’s like Chaka Khan. “D.C. Whore” combines political satire and discordant, complex funk. “Fulano de Tai” is dirge-like, with music that evokes the image of an emotional desert and recalls one of Ennio Morricone’s more psychedelic soundtracks.

One of the strengths of Illegal Space Aliens, and my regular readers please forgive me, is that there are nine choice cuts on this record. No fluff, just a statement. This should be the new trend. This should also be an example of how to make dance music that is intelligent and cool, not dumbed down to the level of morons in too-tight $90 designer jeans.

www.kokodozo.com
www.myspace.com/kokodozo

The music itself was reminiscent of the early 80’s when all the synth bands from England were making their mark. Although this is just a taste of an emerging talent from Sydney Australia, it is good primer for what may be in store for the future.

VertigoNation has all the right stuff going for them right now on five energized tracks. They possess the kind of sound that you will hear reverberating from late night dance clubs, where many of today’s youth populate. In many ways as things change, they stay the same and when it comes to recycling styles of music, it is no different today, with the exception of available technologies.

So with that in mind what is going to make a band different or more attractive to listeners today? Well it never hurts to have an attractive female fronting the band named Wickey, and one that can actually sing. Having good musicians is an absolute necessity and Ales (programming and guitars) and Mirek (programming and keys) have it all covered.

Take note of how today the programming is big part of this sound. Without computers, you probably would not be hearing the layering that is accomplished and many of the effects that are generated. Many folks think that this is the easy way out and it does not speak highly of you as a pure musician. I beg to differ, technology can be very challenging and anyone that can harness its power and manipulate it to do his or her bidding is brilliant, that is my take on the use of programming. It takes a lot of intelligence and creativity to make use of the computers and come up with a believable sound. VertigoNation has that aspect of their creative process under control as well.

I did not want to place too much emphasis or importance on the fact that the music emulates 80’s synth, the important thing is that it is vibrant and exciting music and I enjoyed every track therefore I am sold.

Artist: VertigoNation
Title: Emigrate
Genre: Electronica-Rock-Pop
Label: Independent
Website
Source Link

Tracks:
1.Don’t Want You Near
2.Spinning Wheel
3.It’s Your Life
4.You Can’t Get Me
5.Sign

© MuzikReviews.com

Keith “MuzikMan” Hannaleck

When we last left John Corda, in the guise of drum ‘n’ bass superhero Mashed Buddha, on his full-length CD subdue your mind, he was adding elements, musical elements, to a genre that doesn’t go much past mechanical repetition in rhythm and bleating electro sounds for tunes. To this, he added ideas such as composing songs - with themes that are developed, different levels of sound density, build ups and break downs - and adding elements of funk, rare groove, and heavy bass. Mashed Buddha conceives of his songs and his entire records in compositional terms. In other words, on Zen Conspiracy he keeps things moving like in any good story.

The title track has a stately intro and then the jungle groove kicks in like the opening credit sequence of the coolest noir romance. The relentless, ecstatic drum beat undergirds soulful piano, skittering synth sounds, and deep bass that rumbles with syncopation like dub reggae on ecstasy. The break down adds the earthiness of Afro-Cuban drums and percussion and Latin piano loops that evoke noir mystery. The song’s elements mix, match, swoop down and buildup to unexpected plateaus of resolution. Like his preview EP Four Keys to Zen, this record brings in the element of jazz improvisation. Corda plays a solo that jazzes out but in the soul/blues styles of Ramsey Lewis or Stevie Wonder. This organic, earthbound element offers a nice contrast to the electronica, pumping more blood into the music.

Simplicity returns with the brief interlude “Laz” . Based on a simple funky lick and clocking in at about 90 seconds, it still has a verse and chorus, played on rich sounding keyboards and a skittish percussive track over a phat drum beat, which makes this an actual song. This leads to the next cut, “Temptation” . This song has an easy groove that invites sampling for a rapper, but only one that is having an early ’90s flashback. The multiple tracks of clavinet-sounding keyboards are simply fresh. Corda’s solo has an unfettered joy in its tap dancing rhythms and dense melodic runs. The shifting harmonies keep the music from getting static, and the orchestration of the various melodies and sounds, all building off of one simple riff, are a lesson is how to write a killer track. The keyboard runs drop out, multiply, layer over, and move away from each other. Mashed Buddha always has something happening in his songs.

“Hype” shows how much nuanced feeling can be communicated through electronica. The beat, a bouncy soul rock groove that is mixed with a recurring sound of reverse echoes or a camera shutter - hype, ya heard? - and low end synth licks, is perfect for the psychedelic vogueing that is going on… in my mind. Over top of this rolling river of sound are mysterioso vocals of a self-help nature by the mind-bender Uri Geller; who mutters phrases like, “part three stay positive, relaxed and confident” and “part one clearing your mind” that also cleverly herald another instrumental layer or counter melody from the keyboard. Each element added is not only complementary, but of a different texture. After the break down, previously heard parts of the song - Fender Rhodes chords, wailing synthesizers - come back, but in a developed or altered state. The synth gets edgier, the hype shutter sound gets denser, the low end blasts forth with a nasty fuzzzzz sound.

Just when you thought he would wane a bit from the killin’ ideas and playing, he picks up the pace and not only gets more intense, but weirder. “Tryst” is perhaps the quintessential song on the CD. The beat is jungle drum ‘n’ bass at its most frenzied. The keyboard lick is a combination of chords and melody filtered through the densest white noise. The drum beat is mixed with percussive ghosts of sound that flit around like insects. A counter melody plays with a sound like the spectral organ of Mike Ratledge of the Soft Machine. The piece builds like a hiker climbing a slope to the level peak, resting, then climbing the next hill. In the middle of the song, there is the almost traditional electronica break down. But unlike the cliched break with a bleating mechanoid pulse or a wannabe Latin keyboard riff, here the song rolls into a swirling tsunami of electronic and percussive sounds. The crashing of the waves slides into a heavenly cloud of soulful jazz. Here, Corda takes a piano solo that rocks one soulful statement after the other, bringing that old time freedom jazz feeling to end of the musical journey.

“Arcane Persuasion” ends the CD with a slow, stately, Gothic finale. A pipe organ opens, then the bleating mechanoid sound I dissed earlier comes in, but morphs in and out of demented glockenspiel notes and fuzzy tubular bells.

Let’s be clear: I wouldn’t say I’m an electronica fan by any stretch. Most of it is boring and soulless and uninspired. It says a lot about an artist when he can take parts of a style of music one hates and make music one likes. It’s like turning s%$t into gold. His next record should be called The Alchemist.

http://www.mashedbuddha.com
http://www.myspace.com/mashedbuddha

This is the third album release from ToT. With each album, the energy and creativity has only sky rocketed toward the stars. You can actually watch this artist evolve from the DJ he once was to the artist he now has become.

This release features five tracks with vocoded vocals of ToT himself. His messages of love, hope and truth still stand strong even in his own writings.

In his electro dance tracks “Make the Beat Drop” & “Five O Four” we learn who ToT really is and what drives his passion for the electro breakbeat scene. In his lyrics in the track “Disguised Reality” you get a glimpse of what drives his passion for life and music. He reminds you to “Free your mind, take some time, some time to seek the questions of life and what it all means…”

This album also features the angelic vocals of Serenity. Serenity is a newcomer to the dance scene, but has made a lot of noise in a short time period. Her soothing vocals on tracks such as “Higher Ground”, “Sapphira” & “Rain” fit perfectly with the production of ToT. Serenity also sings a duet with ToT on the tracks “Disguised Reality” & “Where Did I Go Wrong”.

There is also a special appearance from the hip hop emcee 2 Da West on the track “Grass”.

This album has it all. With pounding bass and beats to electro moving grooves, then on top of all that, amazing vocals to set it all off. This CD rocks from beginning to end.

http://www.504productions.com/this_is_how_i_cry.php

It seems that everything took an uplifting turn in 2006 when Gunnar and Amethyste started to collaborate more extensively on several projects ranging from Trance - Dance to Ambient. They finally decided to meet in February of 2006 in NYC, then shortly after their first meeting, Gunnar came to spend 3 months in the USA focusing on music composition and production. Their love for each other fueled the creation of Amethyste’s debut CD titled “Ethereal”. Gunnar’s extreme composing ability really showcases Amethyste’s soothing and dreamy ample vocal range. The beautiful music that Amethyste and Gunnar Spardel create have been heard in radio stations in Europe as well as many internet radios. Ethereal warms the heart and shines light upon their acclaimed and distinctive style of music.

MUSIC QUOTES
Delicate and sublime with a stirring of ecstasy dancing over a driving powerful intoxication is what you will find if you listen to Amethyste’s masterpiece – “Ethereal“. If you listen to the album from start to finish you will first encounter silky washes of sound with ethereal vocals. Floating on air is the feeling that Amethyste creates as soulful and ethereal voices of the mysteries above and below soar across an ocean of stars into a celestial downtempo mood. “Ethereal” goes beyond inspiration to new levels of creativity where modern technology and ancient longings collide. At times it is crystalline perfection and at others the warm sounds completely surround you enveloping you in a dreamy haze. Behind the scene of “Ethereal” is also the magnificent composer Gunnar Spardel, who lays down a set of deep ambient beats that creates a tantalizing ebb and flow of exotic sexy moods as a magical calm is unveiled by a journey within the smooth grooves. Amethyste is one of the most profound influences over mainstream Chill out artists, through a new, innovative artistic panache.
- AMAdea Records, BULGARIA

Purchase CD at CDBABY HERE

Purchase MP3 Album at iTunes HERE

Listen to free music at MySpace HERE