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Silentaria: The Beginning of the End
The Beginning Of the End

Reviewed by: Mike DeGagne
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Cosmic. Trance-like. Hypnotic. Celestial. Mesmerizing. These are just a few of the sure-fire adjectives that will most likely be employed when describing Silentaria’s album The Beginning of the End. The music is synthesizer based, with layer upon layer of spacey progressive waves, apropos vocal injections, and multi-colored flashes of assorted beats, rhythms, and pulses. Like a trip through outer space and then suddenly experiencing a supernova, Silentaria take you on a voyage with plenty of surprises. Yes, it’s been done before, but that doesn’t mean that one can’t indulge once again in this trippy, new-age style of delicious sonic syrup.

The comparisons are plenty…Vangelis, Jean-Michel Jarre, Tangerine Dream, just to name a few. These resemblances hit home right away on “Emerge”, the opening track. A dancing rhythm and pulses of synthesizer beams painting colors in your mind, both combining and leaving you with a peaceful ease that is aided by the faint choral of “aaahhhs” that float by in the background. There’s a wonderful detached feel that arises from Silentaria’s style of music…a type of “comfortably numb“-ness that the band was aiming for and succeeded in accomplishing. The same can be said for the album’s title track, the next song in sequence, which adds a faint backbeat but still incorporates a lush, celestial-like bunch of keyboard swatches up front to keep with the mood.

“Return of the Lost” incorporates more of a mysterious feel to its body, sounding like the music being played in a suspense movie, chock full of short, sporadic bits of synth. “The Ruined Innocence” is haunting, almost Omen-like in its mood and soft yet sinister air. This pair of songs exhibit yet another color in the spectrum of Silentaria’s electronic music…a welcoming change to what could’ve been (but is far from) a set of tracks weighed down by similar rhythms, themes, and time signatures. They change gears once again in “Lament of Being”, a science fiction-like set of mechanical keyboard lines that sound purposely cold, lonely, and distant. The pace is picked up on “Beyond Destiny”, which sounds like it could have been used in the movie Blade Runner.Melodic and musically vibrant, the synthesizer is put to good use once again with its uptempo pace and ethereal pastiches swimming about in mid-air.

“One Last Quest” has the listener visioning a barren landscape with a solitary voyageur trekking across its stark terrain…quite effective. “Hidden Utopia” is a shimmering barrage of pulsating rhythms, short and sweet, but merging together to create a kaleidoscope of electronic hues. In “It’s Time To Go”, the robotic voice that repeats the title of the track is nestled in amongst more mood-infused patches of chilly tones and tinges, while “Farewell” bubbles with frothy keyboard fragments and dazzling bursts of electronic sketches. The album ends with “Eastward”, a sort of clunky, Alan Parsons Project-ish track that doesn’t feel out of place from rest of the album’s topography.

Electronic New Age musical project by Silentaria Silentaria is an Electronic New Age musical project founded in 2010 by Rixa White, a selftaught pianist, keyboardist and composer, born in 1974. He is known as "Man in White". Basically, Silentaria is inspired by the Wholeness and Emptiness philosophy. Its voice is an invitation to the inner world which is silent but the source of every sound. This manifests Silentaria’s slogan: “The Voice of Emptiness”.

Silentaria music layered with progressive parts, effective vocals and proper sound effects creates gentle themes which take the listeners on a journey of self-actualization, inner thought and peaceful insight, while focusing on pure experience of life, beyond conceptual words and beliefs.

Silentaria musical project combines elements of Electronic, New Age, Progressive, Contemporary Instrumental and Ambient music. It is the reminiscence of musical projects like Enigma, Yanni and Jean Michel Jarre, Kitaro and Vangelis. Silentaria music is mainly instrumental as vocals are occasionally used to highlight its message. The main instruments are Keyboards, Synthesizers, drum machines and digital choirs. Rixa White also uses digital sounds such as Flutes, Strings and computer-generated human voices and writes all the lyrics by himself.

Rixa White:
As a self-taught musician, Rixa composed his first pieces of music at the age of 14 by Electric Melodica and later continued his music career by giving electronic recitals for family members using his Commodore64.

While studying as a university student in Industrial Engineering, he continued composing more music using musical softwares and several types of keyboards. In late 1990s after composing plenty of enthusiastic musical themes, he gradually got involved in computer software business and carried on with his life as an online entrepreneur. This made him travel around the world, being in touch with more than 20 countries and cultures and stop playing and composing music for a while.

15 Years later, enriched with life and business experiences, like Japanese painters in ancient Zen stories, he started to compose music again after a long break. He has been working in his personal studio as a professional composer, arranger, keyboardist and sound engineer since then.
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Russian and Ukrainian Sacred MusicKyiv Chamber Choir
The Golden Heritage of the the Ukrainian and Russian Sacred Music
The historical distance between the ancient and contemporary musical texts represented on this album spans eight centuries. Still preserving Byzantine Liturgical canons the Ukrainian and Russian nations toiled, exerted and sowed its own musical style thus strengthening and perfecting its own voice in the universal choral veneration and praise of the Lord God.
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