Soriah (with Ashkelon Sain) are on an 8-city West Coast tour in February and March of 2017: www.facebook.com/events/1352289034842553/
You can download their EZTICA TOUR COLLECTION for name-your-price:
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Soriah (with Ashkelon Sain)'s ATLAN Projekt Records debut:
A review from A Darker Shade of Pagan (podcast) 2011 Top-10:
#1 for the year.
Soriah with Ashkelon Sain, a duo whose album Atlan made my A Darker Shade of Pagan top-ten for 2009, returns in 2011 with Eztica. Described as “a neo-tribal, mystically ethereal, paranormally enrapturing musical experience” this mix of throat singing (what Soriah calls “an offering to nature in her own tongue”), atmospherics, and ritual, is truly captivating. While something of a companion to Atlan, I think Eztica is the stronger album, one that sees more complex arrangements, and a sound that can be driving as well as atmospheric. This is a shamanistic ritual art experience, one that documents Soriah’s explorations into his own ethnicity and heritage, amplified by the amazing soundscapes of former Trance to the Sun guitarist Ashkelon Sain. This is the kind of musical spiritual journey that most others simply aspire to.
A review from All Music:
Soriah's collaborative work with Trance to the Sun's Ashkelon Sain on 2009's Atlan made perfect sense as something to be released on Projekt thanks to the hushed and echo-laden feeling of the album, so it's little surprise that the duo made a return appearance with Eztica, another collection of songs titularly invoking a pre-Spanish conquest past from Central America but drawing on any number of traditions from around the world. Soriah's own throat singing-inspired vocal approach remains paramount, often a low, droning burr on songs like "Ximehua" and, at other times, aiming for dramatic pronouncements as on "Xiuhcoatl" and "Iix." Given that the visual and performance aspect of Soriah's work is by necessity lost on the album, though, the focus on musical texture in his work with Sain makes perfect sense, though one can almost sense the vivid costumes that he creates and wears, not to mention the staging. Some pieces eschew vocals entirely, or at least appear to, concentrating instead on a kind of environmental/instrumental blend that suggests such performers as Popol Vuh, Ghost in their quieter moments, or some of the work of Projekt labelmate Forrest Fang. When loud guitar suddenly arcs in on "Temicteopan" and hovers in the background, Soriah's deep whispers act as a remarkable balancing counterpoint, in ways a perfect summary of this unusual, intriguing return effort. -Ned Raggett