Digital Release (Spotify, Bandcamp, iTunes, all platforms) Sunday 4 October 2020
Saturday 17 October 2020
Old 505 Theatre
Level 1, 5 Eliza Street
Newtown NSW 2042
More information about some of the tracks on Saving Daylight:
My Friend (track 3) was composed in the late ‘90s following the sudden death of a friend’s sister in her mid-20’s from a very aggressive form of cancer. It’s a reflection on unfulfilled possibilities: Helen was equipped with excellent ethics and valuable priorities who was well placed to really change the world for the better. Her time was cut short, we never had the chance to deepen our friendship, and the changes she no doubt would have driven were never able to come to fruition.
Safe Haven (track 4) is an allegory on the plight of refugees. A story told in three parts, the musical narrative follows the journey of an asylum seeker from a (non-specified) war-ravaged Middle-Eastern country. The first section is composed in the Arabic maqam bayati meaning “home”, but the urgent diminishing metric rhythmic pattern (4-3-3-2-2) imparts the sense of urgency and discomfort that comes with war and occupation. Sensing imminent danger, our protagonist understands he must leave immediately and departs his homeland with a broken heart leaving his family behind. The sudden piano solo represents the moment he takes to sea in an overcrowded boat, a journey full of desperation, dread, exhilaration and hope: a journey still taken by thousands every year. In the final section he has made it all the way to Spain, jubilation conveyed by the buleria rhythm and Andalusian melody, but danger is never far behind.
This piece is inspired by a true story but refers to the thousands of people displaced internationally every year and forced into desperate situations due to race, religion, or daring to speak out. www.amnesty.org.au
The Final Frontier (track 6) was composed in the late ‘90’s and is a tribute to sci-fi on the screen: 2001: A Space Odyssey, Close Encounters of the 3rd Kind, Star Trek (mainly the Next Gen, of course), Star Wars, staples of the imagination and pondering of the infinite. The writers who dared to think of such future possibilities may never have considered that many of their ideas would inspire many of the creations of future generations, proof that today’s nerd may be or inspire tomorrow’s ground-breaking inventor.
Anna’s Song (track 7) is a tribute to the unseen carer. So much of the way many lives are defined and improved comes down to an unseen army of carers, some professional, most not, who make life work for society’s most in need. Recent events particularly in aged care have highlighted key deficiencies in this area. Anna’s Song acknowledges the journey of one such carer. Consider a donation to carers Australia during National Carers Week, October 11-17. www.carersaustralia.com.au, carersweek.com.au
The Sigh’s Echo (track 8) was composed in 2017 for Compania Pepa Molina’s Bush Bailando production which toured nationally. Inspired in part by Rushdie’s The Moor’s Last Sigh, the composition refers to core historical themes including the end of the Islamic caliphate in Andalusia and British partition in India. Arabic philosophy fundamentally informed aspirational consciousness in Europe, credit for much of which was later selectively assigned for reasons of social palatability, in much the same way Arabic music informed the early development of European music. The Sigh’s Echo is ultimately a reflection on cohesive multiculturalism, the influence of colonial nations and ideas, and the accuracy with which the past is truly captured.
All compositions on Saving Daylight have lyrics, but only Anna’s Song is intended to be sung.