This Sentence is True

This Sentence is True

1. THIS 5.24
2. MIEN 3.23
4. SENTENCE 5.20
5.   IS 3.53
6.   TRUE 8.56



An idea echoed by the Hindu myth that Brahma jump-started the Universe with the word 'Om'. Perhaps this is why 'magic' words and liturgy can sound so mundane when translated. Often the translation has lost its 'in-tuneness' with what the words originally represented. On this track, the relationship between words and a higher being that breathes them into existence along with everything else emerges and so the piece is about desolation and creation at the same time.

The longest track on this album is "AboneCroneDrone 7" which didn’t make it on to the 'AboneCroneDrone' album (1996). Steve and I are glad that we allowed this track to 'quicken' in its own time. There is even less stated and more to listen for in those harmonic dances above the main body of sound on the track. It is much closer to my experience of 'hearing things' in drones and navigates that fine line between hearing and mishearing. This was further facilitated by some very sensitive additional production work by Hugh Jones (who co-produced most of the Monsoon work with Steve) and it was a joy to see the old "Ever So Lonely" production team working so well together after all this time.

Other highlights of the album for me are the randomly triggered gates on "Is" through which the Thavil is 'fired' at a wall of sound whose spectrum ranges from bass guitar, deep harmonium, large and small tambouras to vocal harmonics, white noise, cymbals, bell trees and finger bells. Also the Indian percussion orchestra that Steve and I recorded on our first trip to India together in 1985. For those familiar with my fifth solo album, the same ensemble features on 'Roots and Wings' (Madras Mix 1990).

I think when you collaborate with people there's a whole heap of subtexts and agendas, that don't usually get talked about, but that in some way matter most more than the music. When two artists collaborate it can often be a crass commercial move, an idea that's come from the marketing department and one that has more to do with their respective PR profiles than what they could do musically together. So I think very carefully about any collaboration offers and the many sample requests that come in. On the other hand, to enter into the spirit of collaboration with someone I trust, and change the rules a bit so that I am forced to adapt puts me in a much better situation.

It's possible that if Sting, for instance, rang me up to do a collaboration, there's a chance that he'd put me in a setting that I’d never anticipated and that it would bring something new out of me. I think what’s far more likely is that he’d listen to my record and decide 'She can do this vocal tone and that vocal effect' etc and that’s what I want her for…' And that’s very sensible. You pick someone who has a proven skill. The exciting thing about working with the Ganges Orchestra is that Steve knows me so well we go straight into the arena of unproven skills, and that’s why it's an excellent place to grow.