SHEDBAND's THIRD ALBUM
Voices in the Mirror
If possible please listen on headphones or a good stereo system
Voices in the Mirror includes a special eight page album booklet
with CD notes by Aiden Iverson, music critic of Synthesia: The AI Music Journal
CD 1
Track 1: Minute One - Unchanged Obsidian
Dialogue at the presentation
of the bitter scroll.
Track 2: The Evening Primrose
The evening primrose is famed for its yellow, upside-down, Sufi-like skirts, shed as if in a daily cosmic erotic dance through an infinite variety of curved speeds.
Hence this invitation to contemplation.
Track 3: Minute Two - A Communion of Empty Ballgowns
A song of randomness undermines the Bell Temple.
Track 4: What The Birds Tell Us
The epithelial nature of birdsong yields breathing electro-psychic essences that blur distinctions between song-being and bird-being. Could it be true that the underlying mathematics of birdsong resembles the quantum arithmetic of interstellar flux, by means of which universal regeneration can be calculated?
This track implies the contrary.
Track 5: Minute Three - Spurious Leads
A brief evocation of the promiscuous interconnection of all things electric.
Track 6: Voices in the Mirror
The Baroque decentring of silence leaves origami-like folds at the creased edges of time.
This track explores such essential states through the mirrored folding of captured voices of the Eternal Feminine, creating the illusion of never-return.
Track 7: Minute Four - Occult Pillars
The dragon speaks to the woman of mystery-forming sands.
Track 8: Fairies and Candles
Occasionally, names, with apocalyptic uncertainty, drop like missiles on our Shed, leaving only spaces beyond the symbolic, which this track celebrates. For the prince is best worshipped through chocolate and walnuts.
Such Philanthropy, as we wait for the boats to come in!
Track 9: Minute Six - Watershed
A brief moment of peace before the Overflowing of the Smiling Unknown.
Track 10: Atonal Apples
Does the keylessness of fruit parallel that of the Cosmos? The pain of being or its starry denial? Is the Binary of the first couple the root of all order, or its dissolution?
This piece attempts to project the mythical force of such being-questions away from myths of Adam, Eve, serpents and apples, and on to something more intimate if indefinable other than through music.
Track 11: Minute Seven - Laughing Earth
Before the Throne, the Trumpet sounds; new Songs are heard by the multitudes.
Track 12: The Wrong One
Is there choice? Are there choices: in love, music, morality, art or suicide?
This piece explores shadows and shades of our ignorance in the teeth of scientific determinism and fundamentalist fatalism.
Track 13: Minute Nine - Geometric Wine-press
A dance for molecules about to become sacred wine.
Track 14: Supermarkets of Futility
With this track, we descend, alas, from ethereal realms of metaphysical speculation, to the aesthetic squalor of a neo-sub-Marxist social critique of capitalist (self-) consumption.
Track 15: Minute Ten - Hollow Spell
Psychic harps and fiddles spin above the Sea of Glass to countermand the Spell of Time.
Track 16: Short but Sweet
As Clouds of Judgement roll in from the West, the Son of Thunder says: I told you so. But who will hear such a voice, and take appropriate action to evade an aesthetic threatening to engulf us all?
In the realm of Beauty, there is no repentance!
Track 17: Minute Eleven - Skyring Glass
Is the Oracle of the End baroque banality or flying-machines?
Track 18: Everything and Nothing
A musical imagining of ‘happening’ without ‘event’, which turns out to be neither paradox nor contradiction, but something in between, and beyond, just as music is more contained in its silences than its sounds, and the brief pause of breathlessness before an answer may contain more meaning than the answer itself, or indeed the question.
Track 19: Minute Twelve - Behind The Eye
Capture the quivering sounds of unseen sightlessness of the black hole’s rainbow.
Track 20: The End
The End comes not with bangs or whimpers, but sirens, and it does not come just once, for each End is a multiplicity.
CD 2: The ShedBand Micro-orchestra
Track 1: Murmurations
An attempt to capture the dialogic, or rather multilogic, question as to whether there is ever one bird, or is each the manifestation of a larger entity, as in musical voices, and as in each or our individual lives.
Track 2: One Note Deviation
If most language, musical and otherwise, is a list of homonyms, iteration lying at its heart, then what of meanings attributed to each new cycle.
Cycle, deviation or enrichment? Consider carefully.
Track 3: Welcome To The Shed
The Ritual of ShedWelcoming involves the Fabric of Being, as tea-parties involve doilies, and tools involve the as yet unresolved battle between good and evil.
To think, that you too, honoured reader and listener, could one day be a ShedGuest.
Track 4: Rhythm-A-Thing
Here the ShedBanders take a holiday from abstraction and frolic in the full sunlight of jazz-pulse. Dom-on-bass proves reveals himself to be a sober Dionysus of rhythm.
Track 5: Dragons of the Unfound World
ShedBand ventures into an exotic world inhabited by intrepid explorers (dragons of the subconscious) and their futile quest for humanity. We glimpse them discoursing about the giant broccoli which greets them at an intimate moment of their quest.
Obstacle or sign-post?
Track 6: Garden Furniture Restoration Group
The text of this piece is taken from a Garden Restoration manual found in the Shed. No doubt a very ancient restoration manual of universal significance, it seemed appropriate to decode it musically, and indeed, careful listening can, given the correct alignment of cosmic furniture, grant access to higher levels of Sofic (sic) Wisdom.
Track 7: Uomo Razzo
This track, fuelled by chthonic forces deep in the bass’s infrasound, explores the unfathomable myth of Razzo Man, involving an inter-psychic travel levitational journey which skirts such mysteries as Planet Gong and the ammonite curls of the dormant and sunless Galaxy of Vulcan-Ajatamuzh.
Track 8: The Girl From Nipplemania
The afternoon in the shed ends on a redemptive note, invoking the Great Goddess Astarte, rising from the depths, in whose bosom all things geometric and multicellular are nurtured, as a clock nurtures time.
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ShedBand is based in Canterbury UK - home of The Canterbury Sound
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