I was recently asked to play a small invite only desert party, and as you know, there’s nothing like the drive of necessity to spark inspiration, so I dove in, and prepared.  This is the set I played at that party, and it’s mostly breaks.  Yes, I said it, breaks!There’s a bunch of hot new remixes of 90’s classics, including 808 State, Massive Attack, Pete Lazonby, Chakra, and the Xpansions.   For me, one of the highlights of this mix is Warsaw, a track from Sultan + Sheperd's new album called “Something, Everything” and it’s a  killer return away from cheesy EDM, and back to tasteful electronic dance music, which is why I fell in love with them in the first place. You’ll find that right at the 68 minute mark.Then I turn towards some recurrent progressive and tech.  It’s almost 3 hours long, so prepare yourselves!Up first, it’s a unique oldie from Orbital, Kein Trink Wasser.  I don’t know what that means, but the persistent piano line sure is fun.As always, thanks for tuning in, and I hope you find some joy and inspiration.  Take care.

I recorded this mix earlier this year, and as some of you know, it premiered on DJ Sense’s YouTube Channel, Casa Del Soul / VidMixxTV as a full length video. It took me over 50 hours to shop, gather, organize, produce, and edit the video to this mix, so if you haven’t checked it out, you an find it on my YouTube channel, Robert Oleysyck Creations - https://www.youtube.com/watch?v=ez-vQ9oam04. I promise you won’t be disappointed. It’s a journey through space and time, so that’s why I call it “Voyager.” Part of the reason that I haven’t been keeping up with this podcast is because I’ve really been working on re-inventing myself, as I think many people are doing in these uncertain times. What’s my new re-incarnation gonna be, you might ask? I’m currently in a re-branding phase, pivoting to a creative agency that handles photography, filming, video production and editing, audio engineering and voice over… an all-in creative solution so to speak. So I’ve been gearing up, training and practicing, especially with video. I’ve already started some personal passion projects in this regard, so stay tuned to my social media for new content, including brand videos, travel videos, and especially, time lapses. Instagram is where I’m most active, so if you’d like to keep up with my creative effrots, follow me at https://www.instagram.com/robertoleysyckcreations Remember, The Feel Sessions is available wherever you get your podcasts, so please subscribe, tell your friends and share the vibes. If you enjoy the show, please consider rating or leaving a review on Apple Podcasts, iTunes, or your podcast app, as it really helps! Thanks. https://tinyurl.com/ybn7778x And, I’d love to hear from you! If you have any suggestions for topics you’d like me to discuss, favorite tracks, or just to say hi, get in touch at [email protected]. As always, I hope you find some joy and inspiration, and especially now, a sonic escape. Enjoy. Tiempo de Maldad - Danser Sans Fumer (Inclan Remix), Andreas Balicki - Circles (Sascha Cawa Remix), Rufus Du Sol - Underwater (Adam Port Remix), The Checkup & Deeleegenz - My Kingdom (Original Mix), Menshen - Mynta (Original Mix), Gavin Froome f. Golden Ears - Don’t Come Home (The Revenge Mix), Bedouin - Wastelands (Original Mix), Navar - You Find (Extended Mix), Navar - You Find (Dmitry Molosh Remix), Yotto - Chemicals (Original Mix), Baile - Amae (Sasha Fabric2099 Mix), Maceo Plex f. Paradigm Shift - Mutant Pulse, Remake - Blade Runner (Maceo Plex Renaissance Remix), Township Rebellion - Monocloque (Original Mix), Henry Saiz & Cora Novoa - Golden Dawn (Brynjolfur Dream Mix), Tilt f. Paul van Dyk - Rendezvous (Orkidea Remix), Libra presents Taylor - Anomaly: Calling Your Name (Ferry Corsten Remix)

In the previous episode, I talked about how progressive house had turned to a darker, somewhat ominous sound in the early 2000’s. Throughout my DJ career, I’ve seen the ebbs and flows of underground music shift through various phases of vibrations, often reacting with an opposite pull to what’s happening in the more mainstream music environments of the time. For this partciular period from around 2001 through 2006… let’s call it the “Delta Heavy” phase, named after Sasha & Digweed’s Delta Heavy Tour. Characterized by moody vibes, dark textures, atonal sounds, trippy effects, narrative style vocals, tribal tones, and driving, heavily percussive rhythms, I honestly loved this period of underground progressive house. You can hear many of these influences in today’s Techno, Progressive House, and Tech House productions. This mix was meant to compliment and contrast the more mainstream appraoch of Carbon 001, which, if you refer back to Episode 79, was intended to be a crossover mix in an attempt to bridge the gap between the mainstream and the underground. One of the tracks that never left my crate during this era, was Pablo Gargano’s “Gangsta” on EVE recordings UK, because it used an infamous sample from the movie, “Goodfellas.” The Feel Sessions is available wherever you get your podcasts, so please subscribe, tell your friends and share the vibes. If you enjoy the show, please consider rating or leaving a review on Apple Podcasts, iTunes, or your podcast app, as it really helps! Thanks. https://tinyurl.com/ybn7778x And, I’d love to hear from you! If you have any suggestions for topics you’d like me to discuss, favorite tracks, or just to say hi, get in touch at [email protected]. So, remastered, and slowed down a few notches, here’s Carbon 002. As always, I hope you find some joy and inspiration, and especially now, a sonic escape. Enjoy. Rigby & Oliver - Human, Piece Process - Adrenalin, John Debo - Rising, Mike G - Bellslut, Fatal - Turn of Time, Lexicon Avenue - Why R U Here, Pablo Gargano - Gangsta, Solar Stone - Seven Cities, DKMA - The Rocket, Red Moon - Lucky, Paper Nation - Watersnake, Samaya Painters - Wasteland

The year was 2002, and by this time, the HipHop takeover was in full swing. The hey days of the rave scene and the global house music movement had seemed to peak, at least in terms of its’ mainstream appeal. But, there were still many of us trying to keep it viable in a crossover nightclub environment. Back then, the glory days of Utopia were gone, with venues like The Drink, and the brand new Rain at the Palms taking over. The struggling C2K nightclub in the Venetian was primed for a takeover, and that’s exactly what we set out to do. My Aussie friend Adam Ward and I laid out plans to transform the space into a haven for those of us still craving to have house music properly represented in a large Vegas venue, and we named the night “Carbon.” Yeah, we were trying to get fancy and philosophical, because Carbon is the common element found in all known life forms, so we thought it would be a good name that had layers of meaning behind it. By this time, progressive house was beginning to take a darker and more minimal stance, and you could say that this movement was ultimately represented by Sasha & Digweed’s “Delta Heavy” tour, which, for those of you who were around back then, had a stop in Vegas, at the very same venue… C2K. Personally, I loved this sound, but as underground dance music often does, it had evolved into a backlash against what was happening in the mainstream music environment at the time, and proved to be too much of a stretch, and unpalatable for the casual underground dance music fan. So, we tried to come up with a blend of mainstreamy and underground dance music that would appeal to a wide audience, playing crossover house music, discohouse, and remixes, while going deeper into progressive as the night went on. We even incorporated live performance acts, like a guy doing Tai-Chi on stage! But, alas, timing is everything. The landscape and conditions just weren’t right. The musical zeitgeist had moved on, at least in terms of hosting a dance music only night in a large space. The Feel Sessions is available wherever you get your podcasts, so please subscribe, tell your friends and share the vibes. If you enjoy the show, please consider rating or leaving a review on Apple Podcasts, iTunes, or your podcast app, as it really helps! Thanks. https://tinyurl.com/ybn7778x And, I’d love to hear from you! If you have any suggestions for topics you’d like me to discuss, new favorite tracks, or just to say hi, get in touch at [email protected]. So, here we go with my flashback mix, Carbon Crossover 001, recorded from vinyl on May 15th, 2002, featuring Full Intention, Modjo, Deep Swing, remixes of No Dobut and Garbage, plus an awesome Lighthouse cover from the 80’s that I had forgotten about, “Hey Little Girl” Up first, it’s AB Boulevard’s “Point of View” followed by Moony’s “Dove”, right here, on the feel sessions. As always, I hope you find some joy and inspiration, and especially now, a sonic escape. Enjoy. AB Boulevard - Point of View Moony - Dove Full Intention - I’ll Be Waiting Solaris - Sunshine Usher - You Don’t Have To Call Modjo - Lady C-Mos - Calling All Cars Gerardo - Americana Deep Swing - In The Music Greenhouse - Caravan Mathias Ware - Hey Little Girl No Doubt - Hella Good Garbage - Cherry Lips

In this episode, I talk about what I've been up to this past summer, including my experience as the Music Director for Spiegelworld's Atomic Saloon Show, photography in Scotland, and my video production pursuits. Tonight's mix is from my recent show at the Fetish and Fantasy Halloween Ball, in The Joint at the Hard Rock Hotel, Las Vegas. My goal for this set was to enhance the Halloween vibe, and create a haunting, moody and driving soundstage, a perfect setup for some menacing Tech House, Techno, and Progressive, on a big, proper sound system, with some recent bangers, and dashes of classic remakes, including Underworld, the Blade Runner theme, Nightmare from Brainbug, and a couple of unforgettable sample layers. So, I’d love to hear from you! If you have any suggestions for topics you’d like me to discuss, new favorite tracks, or just to say hi, get in touch at [email protected]. The Feel Sessions is available wherever you get your podcasts, so please subscribe, tell your friends and share the vibes. If you enjoy the show, please consider rating or leaving a review on Apple Podcasts, iTunes, or your podcast app, as it really helps! Thanks. https://tinyurl.com/ybn7778x On deck, I’ve got Hot Since 82 f. Jem Cooke, the classic Timo Maas Remix of “Dooms Night” by Azzido Da Bass, some D-Nox & Beckers, Tube & Berger, Olivier Giacomotto, and Noir. Up first, it’s the killer “Dinamo” track by Birdee. As always, I hope you find some joy and inspiration. Birdee - Dinamo (Robert Oleysyck IntroEdit Remaster), Azzido Da Bass - Dooms Night (Timo Maas Remix), Trancesetters - Roaches (Peace Division Remix) (Sample Layer), Giom - Love/Hate (Lonely Boy Black & White Mix), Hot Since 82 f. Jem Cooke - Buggin’, Justin Massei - Nothing Can Hide (Dave Seaman Remix), Township Rebellion - Monocloque, Pete Lazonby - Sacred Cycles (Adam Beyers/Bart Skills/Layton Giordani Renaissance Remix), Underground Sound of Lisbon - So Get Up (Acapella), Remake - Blade Runner (Maceo Plex Renaissance Remix), Underworld - Born Slippy (Andrew Meller Reincarnation Remix), Cassim - Dances with Wolves (Chus & Ceballos Remix), Olivier Giacomotto & Noir - Reste (Raxon Remix), Brainbug - Nightmare (Pleasurekraft Remix), Tube & Berger - International Corporate Motherfuckers (Original Mix), Xiaha Troden - Mira Negra (D-Nox & Beckers Remix), Disclosure f. Aluna George - White Noise (Sample Layer), Adrian Hour - Love Something, Golden Girls - Kinetic (Prok & Fitch Golden Shower Remix)

I’ve got something a bit different today, a live interview and guest DJ mix with my friend and fellow house music soldier, Chris Sterio, a DJ, Producer, and Record Label owner from the Isle of Man in the UK. Chris is the one man wrecking crew behind the label Soundscapes Digital, who released my latest EP, Le Buone Vibrazione, which is out now on iTunes, Beatport, Traxsource, and Spotify. https://www.beatport.com/release/le-buone-vibrazioni/2533419 So, Chris was here in Las Vegas during one of his recent tour stops, and I had a chance to sit down and chat with him during this live interview, and stick around for his special guest set. Enjoy. Robert Oleysyck - Indigo, Evotone - Lapis Lazuli, Evotone - Unsta, Evotone - Butterflies, Downgrooves & Chris Sterio - One World (Ostinato remix), Sean McClellan & Chris Sterio - Alternate Avenues (Harmon Ikka remix), GuyRo - Camping in Kashmir (Matter remix), TasZ - Where's That Cue Ball Going, TasZ - Still Here, Slighter & Chris Sterio - An End To The Beginning (Visitor Seven remix) All tracks on Soundscapes Digital https://www.beatport.com/label/soundscapes-digital/35282

Let’s set the stage… The year was 1995 and I was the resident DJ at the Palladium, probably the biggest nightclub Las Vegas has ever seen, and I was also playing part time at the legendary Shark Club. I had an Apple Macintosh Performa 630, Bill Clinton was in office, I had my very first cell phone, a Motorla m300 flip complete with an extending antenna and a bulky battery, and eBay was first launched. At the time, I had a Sclat 8 DJ mixer by Spanish manufactuer Ecler, an exquisite full size 19” rack mounted mixer that featured a modular console build, 110 mm faders and a whopping 16 inputs. I still have this mixer in storage by the way! Plus a Pioneer AV Receiver hooked up to some janky JBL home theater speakers where I had replaced the tweeters with horns, and three dual cassette decks so I could record and dub copies. I think they were made by Pioneer or JVC. Remember, this was about 5 years before I would start using Pro Tools. All this was assembled in my bedroom on a set of garage style shelving units that I got at Home Depot. Breakbeat was a dominant part of the underground electronic music landscape, and since Pulp Fiction was a huge part of the pop culture zeitgeist, it was only natural that I used Samuel L. Jackson’s infamous Ezekiel 25:17 speech from the soundtrack as an intro… hence the name of the mix, The Funky Ezekiel. Recorded on the highest bias metal cassette tape I could buy at the time at Tower Records, I had to do multiple takes to get the intro to line up with the big snare on the first track just the way I wanted it. And, since this was before I was using any kind of digital audio editor, if I fucked up, or if the mix wasn’t up to my perfectionist nature, I had to start all over, which I often did. At the time, I was living in a vintage house near the Stratosphere, and one of my roommates was Greg Ryan, the founder of Scope, an alternative monthly magazine newspaper that would later evolve into The Las Vegas Weekly. He’s the one who turned me on to Adobe Illustrator. I would buy blank, white, high bias cassette tapes, cassette cases, and Avery cassette labels, all in bulk. I then created the artwork for my mixtapes, printing out the cassette stickers and J-cards. By the way, special thanks to Greg for giving me my start in Graphic Design. I would crank these tapes out by the hundreds, giving them out to everyone, and eventually mailing them out, which in turn led to my first out of town DJ booking in Denver. More on that on another episode when I feature Seoul Searching, a mix from 1996. Featuring a bevy of tracks that defined the early to mid 90’s West Coast Breaks scene from artists like The Bass Bin Twins, Jedi Knights, Hard Hop Heathen (aka Omar Santana), Josh Wink (only known as Wink at the time,) and The Chemical Brothers! Hell, The Chemical Brothers weren’t even The Chemical Brothers back then. They were first known as The Dust Brothers. Naming themselves after the production duo famous for their work with The Beastie Boys, once they started to get international recognition, Tom Rowlands and Ed Simons were forced to change their name after objections were filed by The Dust Brothers themselves. A Big part of the West Coast Breaks scene and underground house music in general at the time, was Acid, that unique, squelchy, alien sound produced by the infamous Roland TB-303. And without going into a dissertation about Roland, this Japanese manufactuer’s 808 and 909 drum machines are staples of many music genres today, including Dance and Hip Hop. Music was produced and mixed quite differently back then, and there are limitations to how much bass and bottom end a vinyl pressing will handle. Engineers, even to this day, have to master for vinyl differently than digital, as too much bass can literally skip the needle out of the groove! But, since we’re in the digital domain here, I remastered the mix, giving it a lot more bottom end, and a touch of sheen(continued)

It's a hallmark occasion, and although I’ve been doing this show for much longer, The Feel Sessions as a podcast officially turned 8 years old recently. Filled with over 130 hours of content and well over 3 times that in logged production hours, I’m extremely proud to announce that this very show now has over 100 thousand downloads! Damn people!! To all of my loyal listeners, fans, followers and subscribers, I give you a warm, heartfelt, and sincere thank you. I appreciate each and every one of you for your support, kind words, and spending some of your valuable time with me on my musical and personal journey, and although I can’t see you, I can feel your smiling faces and love coming back to me through the wires. People like Reann, Tanya, Terry, Sarah, Adam, Chad, Danny, Vanessa, Jen, Ira, Jeff, and so many more wonderful boys and girls out there … I wish I could give a shout out to each and every one of you, and give you a big fat hug too. I hope I’ve given you a sonic escape, a bit of insight, and maybe a few laughs… but most of all, joy and inspiration. Humbly, I’m grateful to be in all of your orbits. Right on! So, there’s a huge misconception out there that Djing is easy. They might say things like, “you’re just pressing buttons,” or “oh, you get to play music for a living, how fun!” And while these statements are partially true, I’m here to tell you that when done properly, it’s NOT easy. There’s a lot of hard work, time and dedication that goes on in the background, in preparation for what we do as DJs that’s hidden under the surface and behind the scenes. One of the biggest jobs for a DJ is taking on the role of a librarian - a curator. Obtaining, downloading, buying, sifting, collecting, classifying, organizing, tagging and integrating new music is a massive undertaking! And keeping track of so much music to be able to recall it at a moment’s notice is the ultimate goal. Now, I definitely take things to another level, A) because of my background music service company, Auratunes, where I provide custom playlists for businesses like restaurants, bars, and retail stores, and B) because I’m just a nerdy freak that loves to get super granular on details. But believe me, all that work and preparation pays off. Sometimes, I get tracks that may not work in the context and flow of one of my DJ sets right now. But I’ll classify and tag them with descriptive terms that will help me find them in the future, especially because it’s hard to recall each and every track by artist and title alone. Tagging the comments field with adjectives and adverbs that I can search for in the meta data, like melodic, chunky, funky, moody, thick, light, tight, breaks, lazy, aggressive, sexy, proggy, uplifting, deep… you get the idea, or even including what instruments or sounds that are used in a track, like saxophone, rhodes, arpy, 303, 808, 16th hats, full vocals, etc., lays the groundwork and foundation for future DJ sets when the mood strikes or circumstances arise. Here’s a tip for all you DJ’s out there. Try to come up with descriptions that are unique, so that those tags are easier to find when doing a search. These can be contractions, acronyms, or even made up words that don’t normally occur. For example, let’s say I’m searching my library for progressive house. Well, the words progressive and house will probably show up in other fields that you may not be interested in seeing, like the album or title. But, if you shorten it and eliminate the space between the words into proghouse, it will narrow your search to exactly what you’re looking for. We all think differently, so it’s all about organization and coming up with a system that makes sense for you. Today’s mix is a perfect example of all of this behind the scenes work. While some of these tracks are brand spanking new, half of them are a few if not several years old… I might not have discovered them until recently, or I m(continued)

Ya know, I’ve always had a soft spot for Disco… yes, Disco from the 1970’s. Although I was too young to truly experience this era of music, nor was I nearly old enough to get into Studio 54, I did hear my parent’s playing it on their 8-track in the family station wagon. In particular, I recall a period where Donna Summer’s “Bad Girls” album was in heavy rotation. Yeah, my parents, like most of America, had a brief stint with Disco - it was everywhere, a pop and cultural phenomenon… you couldn’t avoid it.. my Mom even had a curly perm! As my DJ career grew throughout the 90’s, I discovered more and more about this often maligned genre, and came to embrace it heavily. Whether it was a mobile DJ gig, a wedding, a corporate event, or even open format nightclubs back then, Disco always meant one thing - FUN. It just has a way of galvanizing people with a universal appeal, and you could always count on these records to get the crowd up and going, and dancing, which was a huge part of Disco culture itself. Now, coming up with a definitive top ten list is almost impossible for me, on any topic, and I’m definitely not a connoisseur of the genre, for that, I’d have to defer to my friends Patrick Labbate and Jeff Kutash, but some that come to mind right away are Funkytown by Lipps Inc., Donna Summer’s “Last Dance”, Shalamar’s “The Second Time Around”, and one that I can definitely without a doubt put in my top 10 Disco records of all time, “Come To Me” by France Joli, on Polydor Records, 1979. In July of 1979 at Comiskey Park in Chicago, the glory days of disco came crashing down when a crate filled with disco records was blown up on the baseball field between doubleheader games. Now, I’m not gonna go into a deep dive about the history of disco, but my point is this: no matter how you feel about Disco, we wouldn’t have house music without it. Out of the ashes of disco, and fused with a host of other influences and styles, House Music emerged in the early 80’s, and has never stopped evolving since, and ironically, Chicago is credited with being the birthplace of House Music, in the very same city where it’s predecessor died. Even to this day, old disco records are sampled and used in modern productions, especially in the genre, yes, you guessed it, DiscoHouse. So, in this mix, I’ve got a set of groovy, feel-good disco tinged house and nu-disco. Remember, The Feel Sessions is available wherever you get your podcasts, so please subscribe, tell your friends and share the vibes. You can support the show by rating or leaving a review on Apple Podcasts or iTunes, as it really helps me out and it’ll only take a minute. Thank you. https://tinyurl.com/ybn7778x And, if you’re interested in my voice over services, please visit www.robertvox.com As always, I hope you all find some joy, love, and inspiration. Modjo - Lady (Hear Me Tonight), Calvin Harris f. Sam Smith - Promises (Mousse T.'s Extended Disco Shizzle Remix), Bertrand Burgalat - Icare (Yuksek Remix), Tensnake - Freundchen, Shakedown - At Night (Purple Disco Machine Extended Remix), The Shapeshifters - Lola’s Theme Recut (Superlover Remix), Moon Rocket - Intro, Kevin Yost - Messing With My Soul (Brian Tappert Re-Work), Domestic Technology - Here We Go Again (Bollow Remix), Angelo Ferreri - I’m Talking To You, Saison - Moments, Dirty Disco & Adam Nova - Together, Lou Rawls - You’ll Never Find Another Love Like Mine (Kenny Summit, Frankie Knuckles & Eric Kupper’s Unreleased Anthem)

What’s up boys and girls, Robert Oleysyck here, and welcome to episode 73 of the Feel Sessions, this time, with some fresh beats and underground vibes. You know when you hear a new song, and it just immediately grabs you and just pushes your hot button? That’s how I felt when I heard “It Makes You Forget” by Peggy Gou, a Berlin based Korean DJ and producer (YAY!) There’s just something about this track that I can’t get enough of… I mean, it just has everything… it’s groovy, it’s percussive, it’s dreamy, it has drive and emotion, it has a DOPE female Brazilian vocal that’s just so hot and sexy, AND a hint of acid? Faaack. … it’s a perfect combo! Anyway, you’ll hear it about halfway through the mix, followed up by “Ultimatum,” Disclosure’s latest, a vibey track with an AfroTribal twist and some juicy Rhodes organs. HOT And then, it’s the latest from Audiojack, with his remix of Made by Pete called “So Long,” with a ridiculously haunting vocal by Jem Cooke. As if that wasn’t enough, it’s the new hotness by Ferreck Dawn & Robosonic, “In My Arms” with infectious piano and vocal loops. Dang, I can listen to this grouping of tracks back to back on repeat all day. Plus, we’ll hear a moody ditty from Little Dragon, a Kraftwerk remake by Joey Negro, Kevin Yost, and some flashbacks by Maceo Plex, Tiga, Audion, Solomun, Depeche Mode, Eric Prydz, and a Radiohead remix by Gigamesh. DID YOU JUST SAY RADIOHEAD? yup. Remember, The Feel Sessions is available wherever you get your podcasts, so please subscribe, tell your friends and share the vibes. Please consider taking the time to rate or leave a review on Apple Podcasts or iTunes, as it really helps me out and it’ll only take a minute. Thank you. https://tinyurl.com/ybn7778x And, if you’re interested in my voice over services, please visit www.robertvox.com Up first, it’s the club mix of Ben Pearce, “What I Might Do” right now, on The Feel Sessions. As always, I hope you all find some joy, love, and inspiration. Ben Pearce - What I Might Do (Club Mix), Little Dragon - Little Man (Dead Blonde Remix), Joey Negro - It’s More Fun To Compute, Ray Okpara - Satin Curtain (Kevin Yost Remix), Miguel Migs f. Bebel Gilberto - Zuzu, Peggy Gou - It Makes You Forget (Itgehane), Disclosure f. Fatoumata Diawara - Ultimatum, Made By Pete f. Jem Cooke - So Long (Audiojack Remix), Ferric Dawn & Robosonic - In My Arms, Martin Dawson f. Nichols Ryan Grant - Think About It (Maceo Plex Remix), Tiga vs. Audion - Let’s Go Dancing (Solomun Remix), Radiohead - Everything In Its Right Place (Gigamesh Discotech Remix), Depeche Mode - Never Let Me Down (Eric Prydz Remix), Moby - Go (end sample) The Feel Sessions is presented by Auratunes, a team dedicated to making your commercial space feel good, with custom background music playlists, curated especially for you, that compliment and enhance your business. Whether it's a restaurant, retail store, or casino floor, Auratunes takes your background music to the next level. Find out more, at Auratunes.com.