"The highest compliment that anyone could give Flo'ology is to say we've changed. People are so scared to for some reason, but that's what life is. That's what this album is all about," says Stewart.

It was South London that would bring the two together by fate on the basketball court, creating an instant bond while attending the Britts Performing Arts School. Marsha had a business & finance outlook, while Natalie was interested in acting, writing, & directing. It was after graduation that Marsha would change her sights to music and record a demo that would be played on London radio airwaves and lock a publishing deal. While Natalie was attending North London University she was a member of 3+1 (a poetry crew deep in London's spoken word platform). The two, of course, kept in contact and the inevitable was bound... Floetry.

Success was like breathing within the short 9 months of Floetry's birth� they were invited to Atlanta to introduce the power of their chemistry & innovation, to travel to Philladelphia and perform at Black Lily (the venue that would make Jill Scott a well-known name). Within nothing but acclaim breezing in, they would come to meet their manager Julius Erving, III, as well as Jeffrey "DJ Jazzy Jeff� Townes;" only to join forces with A Touch of Jazz Productions. It seems as though with no effort, the duo would create works like "Butterflies" (Michael Jackson), as well as working with various melodic types like Jill Scott, Glenn Lewis, Bilal, and as of late, the chorus for Styles P's groove single, "I'm Black." Ambrosius is even responsible for entwining her background vocals in Justin Timberlake's "Cry Me a River."

The new release will restrict the typical, as they present their growth and "change" from the debut release on a collection filled with another remarkable level of good art and music. "First, there's no headache on this album," says Stewart, who as a poet, draws her songwriting skills from both articulating her personal thoughts and experiences, as well as translating her observations. "Flo'ology is less about victimization. It's about women taking more responsibility for what goes on in our lives. On the first album, Marsha and I were 21 and 23. Now that we're a bit more mature, we've come to a better understanding of ourselves and naturally that's reflected on the album." As critics and fans alike rave, the two hone a special marrow within their talent as the device & delivery is evidently fruitful by way of their made-for-each-other chemistry."Plus, we're just more aware that we were creating an album this time," Ambrosius interjects. "With Floetic we made a bunch of songs without necessarily realizing we were making an album. It was more of a demo situation. At the right time, the right place, we walked into a studio in Philadelphia and didn't really grasp the situation like we could have. It was the perfect way to make that album and I think everybody would be happy if they got Floetic again, but Flo'ology is the next phase in our lives, in our music." Remaining in junction with Pelzer & Henson, they've added the hit-savvy Scott Storch (who produced "My Apology" and the first official single "SuperStar" featuring Common), as well as the soulful ingenius of Raphael Saadiq ("Imagination"), and Whiteleaf Production's innovation (on "I'll Die" and the harmonic, "Closer"). "Our choice of producers just sort of happened," says Ambrosius, who also produced two songs on Flo'ology ("Feelings" and "I Want You"). "It's not like we made a list and decided let's get some songs from these particular people. We heard a lot of music and we didn't record anything that didn't feel right. The music speaks to us. The concepts are obviously from ourselves because we write it all, but the music influences where we're going to go with it."

The album includes a full rounded cover of "good baby making music" (via Ambrosius & Stewart ) with "Lay Down" and "Imagination," up-tempo's ("My Apology & "Let Me In"), a seasoned Bob Marley remake "Waiting In Vain," and lastly, a heartfelt ballad called "Feelings." ""Feelings" was a very, very honest moment for me. I don't think someone could sing "Feelings" and not have experienced it," Ambrosius says. "Every time I hear that song, it puts me back in that place I was in when I wrote it. It's been a long time since a piece of music had allowed me to do that. When you hear the piano coming in, you know I meant every word of that song." Stewart adds: "This album is completely and utterly self-centered. It's about breaking ourselves down over and over and over again, knocking ourselves off our pedestals and then building up again and getting knocked off again. It's about going through the ego cycle. Every song speaks to a different mood and feeling. For instance, when we were writing "Imagination," Marsha and I felt very poweeeeeerful that day. It was just real straight up and down woman power and it's not very often that women get to feel powerful about the fact that we are women. At one point, we felt like if we snapped our fingers, every man in the room would start stripping. The sensual energy and magical power that day was amazing and that's what we wanted to capture and package in that song."

Naturally after 6 Grammy noms, six Soul Train Awards, and an NAACP nom for "Best New Artist," the two are geared and ready to offer a pronounced device in irresistible rhythm, blues, jazz, "neo soul," reggae, hip hop; just� music and whatever else these two tuneful marvels are more than capable of.

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