Since her intoxicating, hypnotic "Interiors'' in 2001, acclaimed vocalist/composer Sara Ayers has established herself as one of the most sought-after sonic explorers. While her musical vision is utterly uniquely, she's found her music utilized in the most unusual and unexpected ways all over the globe. British electronica kingpins the Chemical Brothers sampled Ayers' "Everyday We Die a Little'' on "Come Inside'' from their latest smash hit album, "Push the Button.'' VH1 dipped into the vast Ayers song catalog, snagging samples of "Angel #3'' for the soundtrack of "Behind the Music: Brittny Spears.'' And the Russian electronic trio Figura constructed an entire album, "The Sara Ayers Remixes," around her luminous, captivating vocals. Now with the release of her long-awaited new album "A MILLION STORIES,'' Ayers is back to reclaim her music on her own terms. Her ambitious new work, "A MILLION STORIES" is a surreal, intricately woven wash of sounds that ebb and flow from heartbreak to ecstasy, from hushed to lush - a 38-minute tone poem that weaves in and around itself. What does it sound like? v Sheila Chandra and His Name Is Alive whirled in a blender without the top on v Jane Siberry crashing into Brian Eno with a side helping of Attention Deficit Disorder v Laurie Anderson's classical music symphony of mixed metaphors utilizing only Lisa Gerard samples..... In other words, it's like nothing you've ever heard before. Sara Ayers says, "It's a cross between 'Are You Coming Home?' [from 'Sylvatica'] and the title track of 'Interiors' - an almost symphonic sound collage created from samples, primarily vocal samples. This one's more on the experimental side, and not as 'pretty' as some of my earlier works. Or you might think of it as a kind of greatest hits package, considering all of the self-sampling I did." Sara Ayers creates unflinchingly intimate soundscapes using her voice: sampled, layered, looped and pitch-shifted. Combined with occasional guitar washes and a warm bedrock of molten noise, she creates richly textured sonic atmospheres that vary in tone from the haunting whispers of angels to wall-of-sound banshee wails.... a soundtrack for forgotten dreams. Rhythm and News characterized as her sound as "shimmering sonic poetry," and The Kettle Black described it as "a must-have for fans of angelic voices." "I think of my work as highly accessible to those with a little patience and an open mind, but completely bewildering to others," says Sara Ayers. "I focus mostly on sounds, tending towards hypnotic, stream-of-consciousness arrangements. To those expecting formulaic pop or classical music structures, my music may seem like pointless meanderings or pure noise. "But for those unafraid of the sound of their own thoughts and opinions, my work functions as a soundtrack to the listeners' dreams, hopes and desires. It beckons listeners to enter their own inner world, and almost not hear the music. I aim to transport the listener to a place where time flows in unexpected ways.... to hypnotize them... to take them deep inside the sound itself." Clearly, Ayers is the kind of forward-thinking musician who rarely looks back, preferring instead to boldly lead the charge into the future. Additional press information and composer notes: www.saraayers.com