Press Kit

About Silentaria

Rixa White - Silentaria

Silentaria is an Electronic New Age musical project founded in 2010 by Rixa White, a self-taught pianist, keyboardist, composer and poet, known as “Man in White”.

The project’s music combines elements of Electronic, New Age, Contemporary Instrumental, Ambient and Progressive Rock genres. It is the reminiscence of New Age and Electronic music projects such as Enigma, Yanni, Jean Michel Jarre, Kitaro, Vangelis and Era.

Silentaria music is mainly instrumental and vocals are occasionally used to highlight its message. All these few lyrics are written by Rixa White. The main instruments are Keyboards, Synthesizers, Strings, Flutes, Electric Guitars, Drum Machines and Digital Choirs. Rixa White also uses digital sounds like computer-generated human voices to his music.

Silentaria is inspired by the Wholeness and Emptiness philosophy. Its voice is an invitation to the inner world which is silent but the source of every sound. This manifests Silentaria’s slogan: “The Voice of Emptiness”.

Find out more at Silentaria page

About Rixa White

Rixa White - Silentaria

Rixa White is a self-taught pianist, keyboardist, composer, arranger, producer, poet and entrepreneur, known as “Man in White”.

His conceptual music is a modern fusion of genres like New Age, Electronic, Contemporary Instrumental, Ambient and Progressive Rock.

In 2010 and after years of silence, he created Silentaria musical project which holds elements of mystery, sorrow, epic, rebellion and energy together with his fusion genre.

Along with his music, his appearance including a white mask and all-white costume portrays his visions and has become a signature for many years.

Check out Rixa’s Biography and Autobiography.







Youtube Channel:

Rixa White on Facebook:

Rixa White’s website:


The Beginning of the End

The album theme interprets mankind concerns to get free from the past and move beyond destiny via an inner journey as a life quest. more…

Release Date: October 31, 2011

Album Name: The Beginning of the End UPC: 885767970687
Sequel Name: The Inner Journey Release Date: October 31, 2011
Sequence: # 1 Copyright: Rixa White
Tracks: 11 Composed by: Rixa White
Length: 57′:30” Performed by: Rixa White
Genres: New Age, Electronic Produced by: Rixa White
Tempo: Various Published by: CD Baby
Vocals: Mainly Instrumental Label: Rixa White
Instruments: Strings, Flute, Sitar, Saws, Synthesizer, Keyboards, Virtual Choir, Drum Machine. Percussions
Track Names: 1-Emerge, 2-The Beginning of the End, 3-Return of the Lost, 4-The Ruined Innocence, 5-Lament of Being, 6-Beyond Destiny, 7-One Last Quest, 8-Hidden Utopia, 9-It’s time to go, 10-Farewell, 11-Eastward 

What’s Real?

This concept album is a story of a lost creature, surrounded by reality and illusion contradiction. more…

Release Date: July 1, 2012

Album Name: What’s Real? UPC: 885767142398
Sequel Name: The Inner Journey Release Date: July 1, 2012
Sequence: # 2 Copyright: Rixa White
Tracks: 11 Composed by: Rixa White
Length: 59′:31” Performed by: Rixa White
Genres: New Age, Electronic Produced by: Rixa White
Tempo: Various Published by: CD Baby
Vocals: Mainly Instrumental Label: Rixa White
Instruments: Strings, Flute, Sitar, Accordion, Saws, Synthesizer, Keyboards, Virtual Choir, Drum Machine. Percussions
Track names: 1-Mirage, 2-What’s Real?, 3-Oceans of Illusion, 4-Vital Doubts, 5-Curtains over Eyes, 6-Sorrowful Truth, 7-Deceived, 8-Real Fantasia, 9-Consciousness, 10-Diversion, 11-Echoes from East


  Rixa White - Silentaria Rixa White - Silentaria  Rixa White - Silentaria

See more photos.


Introducing Silentaria

“What’s Real?” album trailer

“Oceans of Illusion” music video

“Return of the Lost” music video

“For what’s worth breathing” poem video

“Power of Peace” poem video


Rixa White writes haiku-like poems that follow the same concept as his music.

Read more poems.


“You might be interested to know that Silentaria’s Rixa White wears a white mask – “One mask to hide them all” (check the autobiography on his website) – and while this is effective at giving him a mysterious air (possibly making his music and philosophy seem more fascinating than it is) does it have the intended effect of wiping away the listener’s preconceived notions or judgments? Well, yes and no – “yes” because we can’t judge him for what he looks like if we can’t see his face – “no” because less high-minded people will judge him for the very fact that they can’t see his face – and invite the inevitable comparisons to other famous mask wearers such as Zorro, The Phantom of the Oprah, Jason in the FRIDAY THE 13TH movies, and maybe even Tom Cruise’s character in VANILLA SKY…and perhaps that’s fitting after all for a composer who attempts to express in musical form WHAT’S REAL? – it’s a bit of a heroic gesture, and needs a strong character for the task.” —  Andrew H. Lee

“This is New Age Music and in a marketplace where so many albums claim to be in this field, Rixa White is clearly the most sophisticated. His compositions are rich in variations of color and rhythms and harmonics, so much so that at times the listener is transported to an arena where there seems to be a full symphony orchestra and chorus.” —  Grady Harp

“Like many such ambient music ensembles, Silentaria is essentially one man, and as much a triumph of engineering as musicality. Rixa White, a software entrepreneur, turned his attention to composing and recording in 2010, and this is his second album. Like those who paved the road he travels (Yanni and Kitaro come to mind), White uses his synthesizer to combine conventional piano composition and a programmed orchestra in a large, theatrical soundscape.” —  Kevin L. Nenstiel

“Apparently, Rixa White is a self-taught musician. so he is either a good teacher or a good student, because the results have been successful.” —  Donald Gorman

“Rixa White’s music has a unique destination all its own and doesn’t linger long with those that came before. To be reminded of something old and familiar is comforting. To be aware of something new and different is exhilarating.” —  Brian E. Erland


For Reviews click here.
Other Reviews:

An approximation to twenty-first century moods

by: Dr. Lee D. Carlson

Date: July 30, 2012

If a collection of music in this century is a reflection of its moods, this one is a close approximation. “Mirage” in particular exemplifies how difficult it is becoming to discern what is real from what is imagined. The skillful and yet unfettered imagination brings about real things with a speed that is unmatched, and usually what is impossible today becomes a stark-deafening reality tomorrow.

“Oceans of Illusion” seems to delight in unreality but one could easily form bodily patterns that match or succumb to its rhythms, as modern dance can be both resonant with and antagonistic to musical themes.

“Vital Doubts” celebrates doubt as a fundamental emotion of the twenty-first century: it picks up the tempo as if to pay homage to it.

“Curtains Over Eyes”: if modern experience is like a drape, to look behind it is not only necessary but inevitable. The temptation cannot be overcome. The background includes a bouncing ball rhythm, which drops with metronomic uniformity and then ends abruptly. This piece is proclaiming loud and clear that there is nothing periodic in this century: one will always be fooled by any seeming regularities.

“Sorrowful Truth”: Here the music is seduced by gravity. It is pulled down to earth just like the truth always is: raw, naked, and difficult to accept at times, but always beautiful just like the melodies in this piece.

Much more malevolent is “Deceived”: the music twists the psyche just like lies always do, however they are crafted and whatever their magnitude.

“Real Fantasia” is a temporary diversion from the superposition of monotony and exhilaration that so characterizes modern existence.

Whispers wake the listener in “Consciousness” and stay steady throughout. They are gentle nudges that however signal the burden/joy of decision-making and its consequences for the conscious being.

“Diversion” from chosen paths is the rule rather than the exception today: this piece pushes the listener to accepting this stark realization.

“Echoes From East” again is a reminder that repetitiveness is an anathema and an impossibility in the twenty-first century. There is so much activity, so much work and play, that they become indistinguishable.

Dr. Lee D. Carlson

Read this article at:

Amazon Customer Reviews

Cosmic, Trance-like, Hypnotic, Celestial, Mesmerizing

by: Mike DeGagne

Date: January 20, 2012

These are just a few of the sure-fire adjectives that will most likely be employed when describing Silentaria’s album “The Beginning of the End”. The music is synthesizer based, with layer upon layer of spacey progressive waves, apropos vocal injections, and multi-colored flashes of assorted beats, rhythms, and pulses. Like a trip through outer space and then suddenly experiencing a supernova, Silentaria take you on a voyage with plenty of surprises. Yes, it’s been done before, but that doesn’t mean that one can’t indulge once again in this trippy, new-age style of delicious sonic syrup.The comparisons are plenty…Vangelis, Jean-Michel Jarre, Tangerine Dream, just to name a few. These resemblances hit home right away on “Emerge”, the opening track. A dancing rhythm and pulses of synthesizer beams painting colors in your mind, both combining and leaving you with a peaceful ease that is aided by the faint choral of “aaahhhs” that float by in the background. There’s a wonderful detached feel that arises from Silentaria’s style of music…a type of “comfortably numb“-ness that the band was aiming for and succeeded in accomplishing. The same can be said for the album’s title track, the next song in sequence, which adds a faint backbeat but still incorporates a lush, celestial-like bunch of keyboard swatches up front to keep with the mood.

“Return of the Lost” incorporates more of a mysterious feel to its body, sounding like the music being played in a suspense movie, chock full of short, sporadic bits of synth. “The Ruined Innocence” is haunting, almost Omen-like in its mood and soft yet sinister air. This pair of songs exhibit yet another color in the spectrum of Silentaria’s electronic music…a welcoming change to what could’ve been (but is far from) a set of tracks weighed down by similar rhythms, themes, and time signatures. They change gears once again in “Lament of Being”, a science fiction-like set of mechanical keyboard lines that sound purposely cold, lonely, and distant. The pace is picked up on “Beyond Destiny”, which sounds like it could have been used in the movie Blade Runner. Melodic and musically vibrant, the synthesizer is put to good use once again with its up-tempo pace and ethereal pastiches swimming about in mid-air.

“One Last Quest” has the listener visioning a barren landscape with a solitary voyageur trekking across its stark terrain…quite effective. “Hidden Utopia” is a shimmering barrage of pulsating rhythms, short and sweet, but merging together to create a kaleidoscope of electronic hues. In “It’s Time To Go”, the robotic voice that repeats the title of the track is nestled in amongst more mood-infused patches of chilly tones and tinges, while “Farewell” bubbles with frothy keyboard fragments and dazzling bursts of electronic sketches. The album ends with “Eastward”, a sort of clunky, Alan Parsons Project-ish track that doesn’t feel out of place from rest of the album’s topography.

To sum it up, Silentaria doesn’t really do anything new here. They don’t break new electronic ground or add any special effects for shock value. What they do, plain and simple, is create an appealing collection of electronic pieces that breed their own definite personality. Who cares about the comparisons, or what other artists their music reminds you of, Silentaria’s “The Beginning of the End” makes for a great escape into the wonders of electronic music, and they get full marks for making each track distinctive, individualistic, and eccentric.

Mike DeGagne


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