From the eerie "Witches Brew" to the somberly elegant and striking "Loss," Tia Knight provides an intriguing range of ambient instrumentals with a medieval tone. "Bringer" opens percussively, with a pulsing beat that continues through the composition. "Vertigo" is another percussive exploration, this one in a more subtle, muted range, yet also with a catchy rhythm that will get listeners wanting to move. Then "Staircase" offers rising keyboard crescendos and horn fanfares, while "Sticks-n-Stones" explores a darker ambient sound that would make effective theme music for events portrayed in an ominous setting. In her description, the artist likens it to "black widows dancing across the moon." The harpsichord on "Raindance" is an effectively atmospheric touch. In all, Blackwood is an enjoyable debut for fans of ambient music, and will have listeners reaching for repeat!

Tia Knight is a keyboard artist who serves up an interesting variety of instrumentals on her debut release, from symphonic New Age music to more adventure and sometimes experimental pieces. Standout tracks on the melodic symphonic side include "Raindance", a Medieval New Age gothic electronic track. The harpsichord-like melody is so simple but my head was bopping throughout the song, making it simultaneously dark and uplifting. "Loss" and "Staircase" are symphonic tunes with the later reminding me a lot of Vangelis. "Blackwood" was one of the more interesting of the New Agey tracks as it had a percussive melody that added character to the music. Things start to get more adventurous with "Vertigo", on which gradually evolving tribal percussion provides the basis for a series of electronic patterns and sounds. It's an intriguing piece because the music demands a little more attention than the other tracks yet still manages to drift along without having jarred the listener from his/her meditation. "Sticks-n-Stones" and "Zodiac" are both harsher, more mechanical atmospheric space ambient pieces. I liked the dark pounding beat on "Zodiac" that conjures up images of a robotic dance. On "Witches Brew" a trumpet sound plays the lead melody against a dark orchestral backdrop while spacey synth noodlings dance about giving the music a welcome freaky edge. And my favorite track is "Bringer", a song the promo sheet says was used in a Frankenstein play at Richland College in Dallas, Texas. The song grabbed me because it actually sounds a bit like "Darkness" from Mr Quimby's Beard's Definitive Unsolved Mysteries Of CD... an analogy that should endear Tia to the space rock crowd. In summary, I can see Tia Knight's music appealing to a variety of listeners, from the New Age fans who like the spiritual element but are sick of the fluff and want something more, to fans of ambient space who like the cooperation and contrast between heavenly symphonics and somewhat more experimental sounds.

An ethereal romance of a CD, Homequest is a hauntingly beautiful release from Tia Knight, a New Age composer whose music fuses electronic sounds with a wide variety of medieval and fantasy elements. Tied into this sense of romance, however, is a darker edge, a sense of cynicism that makes the intricacies of her music all the more fascinating and sets her apart from the dreamy wistfulness of so many other New Age musicians. It is no wonder that among her credentials are a song used in a stage adaptation of Frankenstein and several pieces to be included in the upcoming film, Untold Vampire Tales. Homequest evokes the Pre-Raphaelite artists who so often balanced images of medieval fantasy and chivalry with more sinister elements, such as the many paintings of La Belle Dame Sans Merci, the beautiful yet evil woman taken from Keats’ poem, who bewitches those knights and nobles who are unlucky enough to cross her path. These multifaceted compositions both entrance and unnerve, and Knight’s music has the same quality, simultaneously attractive and spine-chilling. The CD’s title track is actually the lightest piece on the album, a neo-medieval etude that reflects the elation of coming home after a long quest, along with the trepidation one might feel after such an absence. “Illusions” features eerily familiar yet unplaceable vocals dubbed over the synthesized fantasia of a song; it weaves a fragmentary story in one’s mind, leaving it up to the listener to fill in the missing pieces. “Soldier’s Requiem,” on the other hand, is disturbingly at odds with its title. Less like a funeral hymn than a gavotte or pavane, its dance-like tempo sways on as if the dancing and celebration continues, despite loss in an uncaring world. This irony continues into other tracks, such as “Betrayal,” where subtle strings creep along in a dance of deception that conjures up images of a Machiavellian dance party. In contrast, the piece “Sojourn” combines electronic sounds and synthesized vocals with bells, zils, and flutes, in a Tolkein-esque escape into fantasy. The hypnotic “Fatima’s Dream” and “Perfect Love” fuse techno beats with medieval and Middle Eastern influences. Tia Knight’s works are odes to the imagination and the power of creativity and fantasy. Their refreshing mixture of sweet and caustic is a welcome change from so much New Age music, and will appeal to a wide variety of musical tastes.

Homequest - By Tia Knight This CD is quite simply Magical! The music and beautiful vocals take you away to a magical serene place. Loved it!

I really enjoy your song "Blackwood" and have it on my mp3 station (Pagan Music - Zorah Staar's Station).thanks for sharing your magic with the world! Blessed be, Zorah Staar

Can a tune literally represent a stonewall with vines on it or with nothing
on it, though it (the tune) be made by a genius whose power of objective
contemplation is in the highest state of development? Can it be done by
anything short of an act of mesmerism on the part of Tia Knight
or an act of kindness on the part of the listener?