Limited release of Burnt Offerings in physical form.
"Burnt Offerings" is a collection of original songs written in Latin and Ancient Greek (5th c. Attic). Partly inspired by "Heroides" of Ovid, each song is sung from the perspective of a woman or goddess from Classical mythology. The themes are centered on women's voices expressing their pain, anger, and desire for justice or wrathful retribution. The careful balance between vengeance and justice is a theme explored heavily in the Oresteia of Aeschylus which serves as another influence to "Burnt Offerings".
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Credite Mihi: Saltatus Cassandriolae (Believe Me! Or Little Cassandra’s Dance)
As the namesake tells, this song is from the point of view of little Cassandra, Priam’s daughter and doomed prophetess and later the concubine slave of Agamemnon who brings her with him upon his victorious return to Argos from the Trojan War. This song is a straightforward telling of Cassandra’s attempts to exclaim the forewarned fate of herself and the rex fatus and their inevitable slaughter at the hands of the baleful queen, Clytemnestra. As a sort of mini-Oresteia, I suppose this would be my song acting as Agamemnon, the first of the three plays in the trilogy. I wanted to give it a chorus hook of Credite Mihi! (Believe me!) as she cries in vain to anyone who might listen. The simile Cassandra makes comparing herself to a suppliant I thought would be especially evocative considering the violation of xenia the line would imply, if she were indeed a suppliant in the vain of Oedipus and his daughter Antigone at Colonus one would imagine perhaps she might be treated with some clemency. For the music itself, I drew from slightly Balkan and Eastern European Romani motifs giving a bit of a quirky dance I felt might compliment Cassandra’s seeming erratic chaos. To everyone else around her she appears insane in her vain attempts to declare the truth when in fact she is very calculated, precise, and above all correct! On the outside looking in, something like a strange dance or a foreign-sounding musical scale might seem odd, alien, even insane, but the “madness” knows exactly what it is doing with respect to its method, thus revealing its “sanity” in a seemingly “insane” way.
Main sources: Agamemnon from the Oresteia of Aeschylus
lyrics
(Latin):
I
Domi Invidiae despero,
Hic feror et oculis
Gero iam dona impartita,
Sed etiam maledicta
II
Vobis videntur mea indicia
Alucinationes
Rete illaqueans, trucidandum ad me
Regemque fatum male
CHORUS
Credite mihi!
Credite mihi, oro, sicut supplex genu suo
III
Magno cum dolore
Veritatem invoco ego
Plorans, supplicans, ut
Denique credant mihi
CHORUS
Credite mihi!
Credite mihi, oro, sicut supplex genu suo
IV
Mea monitia inania sunt
Cum Parcae immobiles dignent,
Reginae iratae manu,
Fatam me necari
CHORUS
Credite mihi!
Credite mihi, oro, sicut supplex genu suo
(English):
I
I am hopeless at this house of hate.
I am carried here and, in my eyes,
I bear now the imparted gifts
But also, the curses.
II
To you my clues seem
Hallucinations
The tangling net for slaughtering me
And the ill-fated king
CHORUS
Believe me!
Believe me, I pray, as a suppliant on her knee!
III
With great pain
I invoke the truth
Weeping, pleading, so
Finally, they might believe me
CHORUS
Believe me!
Believe me, I pray, as a suppliant on her knee!
IV
My warnings are vain
Since the immovable Fates deign,
By the hand of the balfeful queen,
Doomed me to be killed.
CHORUS
Believe me!
Believe me, I pray, as a suppliant on her knee!
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