Search - Lydia McCauley :: Entrances

Entrances dances through a primeval forest...chants a Franciscan prayer... shares wisdom from a 14th century mystic... sings the sweet sorrow of an Appalachian lovesong... and swells with a blessing from ancient Scotlands people of the heather. Following the success of Lydia McCauleys debut CD release, Sabbath Days Journey, Brimstone Music releases Entrances. We booked a major international studio, traveled by caravan north to Canada, illuminated the studio room with 100 candles, played music for two days straight, then recorded vocals for the next two, explains Lydia as she describes the intense time-limits on the actual recording of entrances. One would not be able to tell that this album was recorded so quickly from the lush instrumentation and layered sound. The band was in fine form, and good humor. The candles and music transformed the room into a beautiful space - a mystical space that one can sense throughout the albums ten tracks. Entrances is essentially one piece, an album to be played through in its entirety. Lydias entrancing songwriting of the past year springs from what she describes as a difficult and contemplative time. Her music is from the poets heart and has the power to move ones soul. In the title track, Entrances, Lydia takes her listener through the forest in pentatonic tones that reach back in time to a primordial moment. The bands synergistic approach to improvisation is apparent in the songs instrumental - and it sets the tone for the album. Hope Grows contemplates hope in a dark place, using lines from Etty Hillesums Diaries, written under the shadow of World War II. There is a light/dark quality in both the melody and lyric that is moving and emotional. Lydia describes Garden Room as a reflection on the fullness of summer, just before the melancholy turn toward autumn. Preghiera Semplice is a simple prayer of the Franciscan Tradition; a plea (which is reflected in both the words and instrumental) to become human instruments of Peace. It leads mystically into The Fire, and dives deeper into The Cloister Within. There is magic here, as Lydias intuitive songwriting gives way to vocals that seem to be sung through her. The arrangement has depth and space in its entirety. It pulls the listener inward, inspiriting the soul. The album reaches its pinnacle in Ashes, a continual chordal cycle that seemingly storms and swirls over Lydias voice. Foggy Dew is a fun, rollicking original version of a traditional classic. Come All Ye Fair is a perfect example of the Southern Appalachian wistfulness that is used so often in their lovesongs. The bands beautiful arrangement has a unified sound, resplendent with strings, and lush recorder. The last track, Traveling Moorland, is a joyous original song that centers around an ancient Scottish Blessing. It invites and inspires the audience into a universal hope of community. Lydia McCauley - vocals, piano, keyboards.
Frank Olsen - double bass.
Frank Jackson - recorders.
Phil Heaven - viola, doumbek.
Brian Cunningham - acoustic guitar.
Kurt Scherer - synth, chimes.
Marc Murray - congas, percussion. Recorded at Greenhouse Studios, Vancouver, B.C., Canada and mastered at Oceanview Mastering, Los Angeles, CA, USA