New Age Vocals Track Feature: The Song Gardeners-Belong

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Watch the “Belong”Official Lyric Video

The Song Gardeners are Corrie Dunn and Mary Gospe. Their tracks have been flowing steadily since the beginning of last year. “Belong” is the latest offering for listeners to enjoy.

Each recording holds a spiritual and uplifting consciousness.

What I found unique about this talented duo is their sense of rhythm, fine musicianship, and vocals that elevate their words.

Belonging is something we all desire, and their message is about being a part of humanity. It’s also about the freedom to speak authentically, rather than simply saying what others want to hear. True belonging means being accepted for who you genuinely are, without having to meet conditions or conform to expectations.

The strumming acoustic guitar, keys, and the beautiful vocals will immediately engage your senses and your knowing of right and wrong. Some of the words will hit home like “I’m tired of feeling out of place.” None of us should ever feel that way; we all want the same thing: love and acceptance.

In an era fractured by division—where discord wreaks havoc upon countless lives, this simple plea for acceptance grows ever more urgent. Yet it is precisely through such words and music that a yearning audience finds solace, their souls hungry for this very message to resonate. Here, that truth arrives not with force, but with grace: delivered in the most beautiful and tender way imaginable.

Keith “MuzikMan” Hannaleck-NAMR Founder

January 23, 2026

The Song Gardeners are at the forefront of the New Age Pop genre, creating well-crafted contemporary #chill, #groove, and #pop songs with positive, empowering messages. The band was founded by singer/songwriters and multi-instrumentalists Corrie Dunn and Mary Gospe.

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New Age-Jazz -Contemporary Instrumental Review and Interview: Derek Wille-Weight of the Sky

 Release Date: January 5, 2026

Label: Independent

Website

Derek Wille, a masterful artist, seamlessly merges three musical genres into an enjoyable, cohesive sound, showcasing his exceptional talent throughout his recent release, Weight of the Sky.

The complexity of jazz, the spiritual and deeply relaxing effect of new age, and the tradition and foundation of classical come together for a significant contribution to the world of instrumental solo piano recordings.

“Eyes Across A Room” is full of new age and jazz tones. It begins with a recording of a lovely, soft melody. You are immediately disarmed and feel like you have found a safe place to be physically and spiritually. It is a good way to start things off, getting you into the right frame of mind to enjoy what is to come. Just under 3 minutes was perfect.

“The Weight Of The Sky” creates a perception of something more serious than the previous track. While the high notes are light and airy, the bass resonates with a heavier tone, holding its own, while the sky maintains its lighter aspects. As these two aspects merge, you find your own understanding of what the track title can mean for you. There is some terrific playing going on here, and I heard classical influences woven into the underlying jazz and new age principles.

As “Rhapsody In Shadow” begins, the carefully measured sound and tempo immediately highlight the romantic mood depicted.  There is no black and white; only the grey areas shine as the notes intermingle to create perfect beauty. The piano keys dance a waltz and ask you to join in their place in time.

“Doorway To The Sea” carries the waves of the sea with melody and precision throughout this composition. I heard strong classical tones coloring this piece with jazz along the fringes. Very nice with a good flow.

“Shadows On The Sidewalk” picks up the pace with a lighthearted melody. It was like being a child again, watching your shadow imitate all your movements. Do you remember doing that? This upbeat melody reminds you of those days. A jazz movement with the colors of youth brings memories flooding back instantly.

“Prelude To A Farewell” gives the time needed to prepare for the finality of saying goodbye. The joy of life and love injects positivity, helping optimism replace negativity or outright sadness. The tinkling of the high notes brings a smile to you inside and out. Melodies abound, light all around, as the resonating keys leave a lasting impression.

“The Years Between” is reflective, a space in time that deserves another look. All time is relevant in one’s life, but we tend to forget so much. As the fingers hit the piano keys, the energy is dispersed into the air, and the melody and trajectory of sound engage you. It was like a story unfolded, and the last notes closed the book.

“Reflections On A Quiet Night” has a title alone that is picturesque. The piano keys softly invite you in to embrace the night with a look back to reflect on the day, your life, or the love of all the sweet things we treasure. The keys roll along the artists’ fingers effortlessly. Dreamy sequences relax and easily bring on the reflective mood being suggested.

“Standing In The Storm” would suggest something prolific about one’s life or indicative of the actual weather. My thought is based on the emotional nature of music, so this would point to an event or time in an individual’s life. The piano has two parts: the lower bass, which paints a clear picture of something more serious, and the higher notes, which are clearer and uplifting. This, in turn, gives the listener an optimistic outlook within the “storm.” This is the power of music at work, offering a listener a choice.

“A Lifetime Ago” is a window into time once again. This piano-based music is diverse, taking a blank canvas and using the broad brush of notes to create a masterpiece. The time and space in a lifetime can be short or vast, depending on the subject matter. The piano’s keys are significantly high and low, taking the ebb and flow of emotions to different places. Drama captured in music, perfect.

Finding “The Way Back” could be easy or difficult. This is the double-sided coin of life and all its situations or life-changing events. Those who lose their way can always get back on their original course. The piano’s elegance is highlighted here, carving a path for those who need a little help. This is musical GPS, if you will, listen carefully so you can return to where you belong.

“Last Light Of The Evening” ushers in the dark of night, as the moon and the stars relight the atmosphere. Nature’s sprinkling of the heavens reminds us of our 24-hour cycle of life and offers wonders and beauty each time. The melody is happy and reminds me of the Charlie Brown holiday cartoons, with its easygoing, flowing jazz piano runs by Vince Guaraldi.

“The Space Between The Notes” is a significant title. It gives thought to what you can find or create in that brief space in time between all the notes coming from the fingers of this piano player. This track slowly unfolds, allowing each listener to reflect on its meaning.

“Night In Amber” closes out this fourteen-track foray into time and space, accompanied by some of the most beautiful solo piano music one could ask for. It is fitting that the tempo of this track features how this talented artist takes jazz, new age, and classical and melds them into standalone pieces of art. It is a gorgeous end to an altogether enjoyable journey of instrumental bliss.

Derek Wille’s Weight of the Sky gives every listener some space in time to relax, reflect, and move along with each story via the piano’s notes. The beauty and simplicity of instrumental music shine brightly with the absence of words, so one can really become part of the storyline. 

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 17, 2025

Tracks:

01. Eyes Across A Room 2:57

02. The Weight Of The Sky 4:33

03. Rhapsody In Shadow 3:54

04. Doorway To The Sea 3:29

05. Shadows On The Sidewalk 3:18

06. Prelude To A Farewell 3:35

07. The Years Between 3:25

08. Reflections On A Quiet Night 4:49

09. Standing In The Storm 4:45

10. A Lifetime Ago 3:48

11. The Way Back 2:59

12. Last Light Of The Evening 3:33

13. The Space Between The Notes 3:26

14. Night In Amber 3:05

Track Feature: Contemporary Ambient Instrumental-Extasis-Allan Susoeff, Jr. - One and Only

Extasis - Allan Susoeff, Jr. decided to take his music in another direction on the “One and Only” track release. Moving away from his meditation releases into the world of Contemporary Ambient Instrumental. However, I would consider it a valued tool for relaxation or meditation.

The music is inspired by some memorable moments in time shared with another in a beautiful setting. It’s about believing in yourself and knowing you deserve to enjoy these moments and the memories you’ll hold on to.

The instruments utilized for this contemporary instrumental are: Piano, Synths & Pads, Violin, Viola, Cello, Contrabass, Piccolo, Flute, Oboe, English Horn, Clarinet, Trumpet, Crotales, Cymbals.

The keyboards are the main instrument, and all the color and drama those keys create is fully realized on the track. The layers of piano and synth form the foundation for the other instruments to join in and accentuate the meaning and feelings pouring through the creator’s fingers.

I was moved emotionally by this music, and knowing what it meant to the artist was a springboard for appreciating the impetus for its beginnings and how it flourished from a life-changing event. It was a special moment frozen in time by the music and will now live forever for all who take the time to listen.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 16, 2026

https://allansusoeff.com

Just two short weeks after the release of his first album, Extasis, in 2019, Allan experienced another quantum leap in life: a heart attack. He emerged from his double bypass surgery with a newfound appreciation for music. The intricacies of instrumental collaborations alone gave Allan new meaning in the art of creating music. Since then, his focus has been solely on instrumental music that is not only ambient but also uplifting and positively empowering.

Contemporary New Age Instrumental Review and Interview (Theresa Bentley): The Bentley Project - Blossoming of Ancient Beauty

Release Date: January 16, 2026

Label: Wayfarer Music Group

Website

The Bentley Project is a talented ensemble of musicians led by the husband-and-wife duo Theresa and Mark Bentley. Their latest release, Blossoming of Ancient Beauty, offers light in the darkness, delivering hope and transformation through their music.

Beyond the captivating vocals, the instrumentation is truly impressive. Harp, piano, synth, French horn, classical guitar, acoustic guitar, fretless bass, cello, crystal sound bowls, and flute are masterfully woven into the tracks. Also notable are the guest appearances of Sean O'Bryan Smith (fretless bass) and Dino Pacifici (Composer, Guitar, Synth).

“Realm of the Crystal Room, Featuring Sean O’Bryan Smith” takes listeners on a musical journey into another realm of existence. The harp and ethereal, wordless vocals gently guide and soothe you, allowing your consciousness to shift into deep relaxation or meditation. Nearly five minutes is the ideal duration to reach this state.

“Breathe” is a powerful word—one we should all remember when stress threatens to overwhelm us. This track continues the journey begun by the opener, offering a sanctuary for release and renewal. The harp is exquisitely inviting, its ethereal quality conjuring a sense of magic and serving as a doorway to bliss.

“Labyrinth of Love” is the shortest track at 2:55, yet it accomplishes so much in that brief span. Its melody, tinged with Celtic flavor, gently carries you along, as if fairies in the forest await your arrival. Sweet and full of wonder, this piece offers a delightful change of direction.

“Sun on My Face, Featuring Dino Pacifici” opens with a flowing acoustic guitar, soon joined by other rich elements. A distinct jazz tone weaves through the track’s new-age foundation, inducing the “quiet storm” aesthetic often found in smooth jazz. Subtle Latin flavors blend seamlessly with delicate guitar picking, creating a captivating listening experience.

The title track, “Blossoming of Ancient Beauty,” takes center stage. The cover art brings its name to life, depicting a face reminiscent of ancient Greek sculpture, with orange hues that suggest the patina of time while preserving its beauty. Jazz inflections intertwine with contemporary new-age sounds, creating a sublime piece that leaves a lasting impression.

“End at the Beginning” is a thought-provoking phrase—one that resonates personally for each listener. The music gently encourages introspection, with soft guitar lines and a mesmerizing harp-like sound that lull’s you into a dreamlike state.

“Give Me Life, Featuring Sean O'Bryan Smith” brings the fretless bass to the forefront, its resonant tone serving as a pillar of strength. At the same time, the gorgeous vocals serenade the supporting instruments. Here, the French horn makes its debut, adding a distinct texture and essence to the piece.

“Lost in the Water Garden” offers a measured tempo, radiating warmth and softness consistent throughout the album. The simplicity of the harp’s strings creates an enchanting soundscape that draws you in. This track is ideal for relaxation or meditation, both in its music and duration.

“Sanctuary of Dreams” concludes the album as its longest track, spanning 6:08. The music envelops you, giving ample time to settle into deep relaxation or meditation. Lush synths create a floating layer of ambient texture and color, opening a window in time for your consciousness to rejuvenate. Influences of legends such as Vangelis and Tangerine Dream are evident, whether intentional or simply resonant with the band’s own style.

Blossoming of Ancient Beauty reaches back across millennia. The combination of evocative cover art, intriguing track titles, and the seamless merging of instruments and voice creates a contemporary new age instrumental journey that invites repeated exploration.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 16, 2025

Tracks:

1. Realm of the Crystal Room, Featuring Sean O’Bryan Smith 4:48

2. Breathe 4:24

3. Labyrinth of Love 2:55

4. Sun on My Face, Featuring Dino Pacifici 4:01

5. Blossoming of Ancient Beauty 3:29

6. End at the Beginning 2:46:

7. Give Me Life, Featuring Sean O'Bryan Smith 3:18

8. Lost in the Water Garden 4:15

9. Sanctuary of Dreams 6:08

Contemporary Instrumental-New Age-Jazz-Country Review and Interview: Lynn Patrick -Water Stones

 Release Date: October 25, 2025

Label: Dakota Ridge Records

Website

Guitarist Lynn Patrick chose the title of her most recent release, Water Stones, as a metaphor for resilience and transformation. Just as water smooths stone, she sees life’s challenges as experiences that shape the heart toward peace and compassion.

Interpreting that kind of thought process or belief into sounds that please the mind, body, and spirit has always fascinated me as a listener. That feeling and sense of connection are quintessential reasons why I love instrumental music.

“Surfing Lu Lu” starts off with soft acoustic picking and tasty rhythms, set to a bright tempo. The sounds flow with a light ambiance, flavored with smooth jazz that floats seamlessly through the air. A lovely way to get you into your mental “comfy chair.”

“Made Your Escape” keeps the flow going with a different pace and layers of six-string beauty. The lead guitar blends pleasantly with the rhythm lines. Elements of jazz and new age music converge to create an inviting and positive atmosphere throughout the piece.

“When You Find What You’re Looking For” continues with uplifting sounds as the guitar and mandolin create a union that feels meant to be. The rhythms remain toe-tapping, and the consistent flow and approach of these compositions are simply a delight for the senses. Precision guitar lines enhance jazz and new-age inflections with perfection.

“Breezy Sassafras” feels like a soft breeze blowing over your face. Sailing on the ocean on a bright summer day came to mind. As you move through each track, you hear many genres merge into a cohesive sound. I heard blues (with the poignant guitar leads) and jazz on this track, with an underlying new-age approach.  

“Unknown Changes” has a down-to-earth folk-country base, with subdued yet effective lead notes that are bright and perfectly placed between the rhythms. Although it seems unrelated to the track title, it summons up thoughts of riding across open plains as the sunset drops over the horizon, with the sound of a galloping horse in the background. Good music evokes these images in your mind’s eye.

“Water Stones” is soft and warm, flowing like a clear, running stream of consciousness. The acoustic picking is extraordinary and moving, like water over stones, leaving an impression over time and through consistency.

“Love Is Here” is the longest track at 4:14, which feels appropriate given its title. Coming from a place of the heart is the true nature of mankind. Here, music offers a new perspective on life and fosters gratitude for the loved ones in our lives. The rhythm layers are excellent, and the lead guitar fits in elegantly. Like brushstrokes on an empty canvas, the notes flow with ease, engaging the listener in a relaxed, introspective state.

“So Unexpected” maintains the main purpose of this music, with subtle and tasteful improvisation on the guitar strings, while the bass holds its place firmly, providing a strong foundation for the other elements to stretch out and capture your imagination. Beautifully executed.

“Homecoming” has a positive connotation, and here the mandolin returns to add a distinct flavor that only this instrument can offer. At 2:45, one of the shorter tracks accomplishes everything it needs within that time frame. Stringed instruments can be soft and inviting yet burn with passion regardless of volume.

“Finish Line” has a clear country timbre, with the violin playing its part and the guitar and mandolin exchanging pleasantries. The track moves briskly while still inviting relaxation. The gentle touch is the hallmark of this music, and that is what anyone who appreciates good instrumental music will recognize.

“Labyrinth Sun” is a lovely acoustic guitar instrumental that brings total focus to that one instrument and the artist’s complete command of it. This is the epitome of folk acoustic heaven.

“Guitar Dance” completes this instrumental cruise across the strings. At 2:16, its brevity offers one last glimpse of how impactful an instrument can be, regardless of how long it is played. The composition is compact and serves as an effective way to close things out.

Water Stones showcases Lynn Patrick’s diverse picking style on acoustic guitar and her ability to punctuate strong, resonant leads between and over the rhythms. I seldom get the opportunity to hear guitar instrumentals like this, and I enjoyed each track greatly.

Credits:

Lynn Patrick – Guitars, Producer, Recording & Editing

Dave Beegle – Lead Guitar, Mixing

Silas Herman – Mandolin

Eric Thorin – Upright & Electric Bass

Sandra Wong – Violin

Enion Pelton – Guest Violin

Christian Teele – Percussion

Tracks:

01. Surfing Lu Lu [3:03]

02. Made Your Escape [2:49]

03. When You Find What You’re Looking For [3:19]

04. Breezy Sassafras [3:54]

05. Unknown Changes [3:37]

06. Water Stones [2:55]

07. Love Is Here [4:14]

08. So Unexpected [4:09]

09. Homecoming [2:45]

10. Finish Line [3:28]

11. Labyrinth Sun [3:01]

12. Guitar Dance [2:16]

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 7, 2026

New Age Review and Interview-Contemporary Instrumental - Ambient Dream Pop (Vocals)-Falling You (John Michael Zorko) Metanoia

Release Date: December 1, 2025

Label: Independent

Website

My lifelong journey of discovering new music continues with Metanoia, the most recent release from the collective Falling You, led by John Michael Zorko. According to the information I received, he is referred to as a “sound sculptor.”  I find that a very interesting and descriptive choice of words. 

Metanoia is a fundamental change of mind or spiritual conversion. After hearing this recording, a sense of change may arise or be strengthened.

“Throw the Stone” starts things off. It is compelling to listen to Colleen Hilker’s vocals. She reminded me of the powerful Pat Bentar. Resonant guitar echoes bounce off the commanding vocals, and it sounds like the beginning of a rock track morphs into an ambient soundscape, with the synth evoking the Tangerine Dream or Kraftwerk. The mixture is wonderful and a great way to get things started. Some might consider this “Dream Pop.”

“Demiurge (Momento Eorum)” In the Platonic, Neopythagorean, Middle Platonic, and Neoplatonic schools of philosophy, the Demiurge is an artisan-like figure responsible for fashioning and maintaining the physical universe.

The chanting takes its place immediately, and in the background, the synths lay down a layer, giving it an air of mystery. The hypnotic trance and Jennifer Wilde’s additional wordless vocals merge seamlessly. This is an entirely different approach and musical style from the opening track. More than halfway through, the synth takes on a deeper, more aggressive sound. The feeling of being in the vastness of space and the complete loss of time washes over your senses.  It goes from meditative to spacey synth sounds, which I found captivating.

“Flesh to Tree” begins to take a more rhythmic path. Courtney Grace makes her debut on the release with breathy, sensual vocals. This is another move into a completely different sound. It sounds dreamy (thus the reference to dream pop in their music). The bass plays a significant role as the synths add variable sounds and tempos, and the vocal intonation stays consistent and holds the track’s tempo with strength and purpose.

“Alcyone” is one of the two longest tracks over 10 minutes. Dru Allen provides the vocals. I must say the choice of vocalist has been superb thus far. Each voice owns its place within each track. Here, her lovely, sweet style seems to float over the music with elegance. The keys are the main driver of the music that surrounds the vocals. The gentle keyboards are like a warm, comfortable blanket for Dru to wrap her vocalizations in.

In Greek mythology, Alcyone, or Alkyone, was the daughter of Aeolus, and is also a blue-white giant star, the brightest in the Pleiades open cluster. The interpretation is yours to choose.

“Ari’s Song” keeps the flow of expectation from track to track. This one begins with a strong bass line and a cool breeze of jazz piano, then the ambient synth takes over, and for the first time, harmonica is added (Slim Heilpern), giving yet another dimension you would not have expected. It runs for nearly seven minutes, and the variables that weave through it are fascinating. I would call it progressive instrumental because of the vast array of sounds and instrumentation that come into play.

“Inside the Whale” may bring many things to mind for a listener. The sounds are very spacey and ambient, with a constant soft drone underlying the other sounds, including a loud creaking that sounds like a nail coming out of a board. Based on that thought, my mind began to wander into story land, where a Moby Dick-like creature swallows an entire ship. Or perhaps the ancient tale of Jonah, who was swallowed by a large sea creature. The music did exactly what it was supposed to do, whisking me away to another consciousness.

“Ariadne” features Courtney Grace again on vocals. This is another Greek mythology reference. Ariadne was a Cretan princess, the daughter of King Minos of Crete.

For the first time on the recording, the drums move to the forefront of the composition during different segments. There are several transitions within this piece. There are synth layers, some guitar, and the layering of Courtney’s superb vocals. It’s like opening a musical storybook that pulls you into the mythos of thousands of years ago. This is a track that is difficult to pin down to any one genre or style (and a lot of this music is actually). I would reach back to dream pop and new age as two reference points.

“They Give Me Flowers” is the second track, over 10 minutes. Erica Mulkey provides the vocals and cello on this extensive production. Again, I am finding the vocals compelling and an intrinsic ongoing narrative that enhances the tempos and music that come together. More than halfway through, it takes on a Middle Eastern musical feel, with a slight change in vocal timbre. There is distinctness in the approach here, vocally, with a hypnotic, chanting effect on you as the listener. As soon as that change is complete, another transition begins into a clear, emotionally driven style as she sings, “Look at what they give me, they give me flowers.” I had a thought of royalty or a high priestess being honored during that segment.

“(trying to weave) A Thread Of Happiness (from one day to the next)” is the shortest track at 3:51.

The ringing tone throughout could serve as a point of meditation; however, the heavy bass synth arrives, bringing an element not conducive to that state. Variable intonations and wordless vocals (Jennifer Wilde) make it very pleasant.

“Constellations” starts with another ringing tone that falls to the background as other instrumentation takes precedence. A nice guitar takes its place alongside the various textures and colors that make up the wondrous constellations we can observe with the naked eye or examine more closely with telescopes. Amelia Hogan makes her debut on the album with a very different vocal style from the rest of the tracks. Her tone is very distinct (I thought of Alanis Morrisette for a moment). The music reaches an exciting apex around three-quarters of the way through with some guitar.

“Philomena,” also known as Saint Philomena or Philomena of Rome, was a virgin martyr whose remains were discovered on 24–25 May 1802.

This wraps up this incredibly engaging and spacious musical offering with ambient synths, gorgeous piano notes, and magical vocals. Anji Lum takes her place amongst the many incredible women performers, vocalizing to the music like an angel sent from heaven. It is one minute short of another 10-minute musical journey of diverse sounds and textures to capture your imagination. Simply beautiful, like all the tracks you will hear prior to this closer.

Metanoia was like listening to a magical mystery tour of compositions. Regardless of their length, they will keep your interest and give you moments of joy and a respite from the day your current space is inhabiting, creating an entirely different environment to coexist with music. You simply cannot clearly define music like this or put it in a box; it lives in a world of its own.

Credits:

John Michael Zorko – Composition, synths, guitars, noise

Dru Allen – Vocals (4)

Courtney Grace – Vocals (3, 7)

Slim Heilpern – Harmonica (5)

Amelia Hogan – Vocals (10)

Anji Lum – Vocals (11)

Ryan Lum – Guitars, blues percussion (11)

Erica Mulkey – Vocals, cello (8)

Shikhee – Modular synths (8)

Colleen Hilker – Vocals (1)

Jennifer Wilde – Vocals (2, 9)

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 12, 2026

Tracks:

01. Throw the Stone [04:23]

02. Demiurge (Momento Eorum) [05:52]

03. Flesh to Tree [04:41]

04. Alcyone [10:04]

05. Ari's Song [06:39]

06. Inside the Whale [07:46]

07. Ariadne [06:50]

08. They Give Me Flowers [10:06]

09. (trying to weave) A Thread Of Happiness (from one day to the next) [03:50]

10. Constellations [06:58]

11. Philomena [09:59]

New Age Meditation Track Feature And Interview: Ilka DeGast-Wishing Song

Ilka DeGast is known for her work in sound healing through her music, vocals, and instruction in Qigong and meditation.

The “Wishing Song” was especially made for children all over the world. The music provided supports early development by nurturing childhood innocence when it matters most.  

Along with a strummed acoustic guitar, Ilka’s angelic vocals serve as a guidepost, along with her simple instructions at the beginning of the track.

The sound of the life-giving water is present and strong throughout the recording, and it ends with the drum emulating a heartbeat.

While “Wishing Song” is meant for children, adults can find comfort and healing with all the sounds as well. Hearing Ilka say “You are loved” would reassure and remind us that this is a true statement to carry with us throughout our daily lives.

Ilka DeGast is a messenger sent to humanity, and she has several ways of delivering it. Her many talents are encapsulated within this one track.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 9, 2026

https://globalsacredsounds.com/

Ilka de Gast, originally from the Netherlands, now living in CA, is a psychologist, Qigong and meditation instructor, sound healer, researcher, and singer-songwriter. Ilka leads Sacred Sound tours and retreats internationally.

While Ilka has explored many meaningful career paths, her true passion for the past 25 years has been to work with and teach sacred sound healing modalities from around the world, including the ancient art of overtone singing.