A t the start of 2016 Heather Shannon of the Jezabels really felt as though “a person had actually pumped concrete right into [my] capillaries”. Her ovarian cancer cells– detected in 2013 while the Jezabels videotaped their 2nd cd, The Edge– had actually returned equally as the band’s 3rd cd, Synthia, resulted from be launched. Her chemotherapy therapy scuttled their six-month global trip.
” It was primarily the most awful day of every one of our lives when we could not do that trip,” claims Shannon, from her residence workshop in Coogee, Sydney. The break from the Jezabels provided the characteristically qualified pianist time to reconnect with her tool and also took her from bed-ridden “cabin high temperature” to Iceland’s arms.
The outcome is Twelve o’clock at night Sunlight: a rugged, hurting and also transportive cd of solo piano structures, started throughout a 2017 ArtIceland residency in the community of Ísafjörður. It’s a cd of contrasts and also oppositions: serenity stressed by harshness, turning in between “resolution and also unpredictability”.
” I do not believe it ever before obtained totally dark,” claims Shannon of the far-northern hemisphere summertime. “If it did, it was just for a hr or something. The birds do not also quit. It’s actually strange … it’s nighttime, the sunlight’s out, yet it’s so peaceful … I believe that unfamiliarity most definitely leaked right into the songs.”
The cd was racked up with a computer system, a number of tiny key-boards and also synthesisers, and also Shannon carefully recorded it right into sheet songs upon her go back to Australia.
However some flows showed practically difficult to play online. Desiring a back-to-basics method, after years of workshop dabbling with the Jezabels, Shannon reorganized the structures, tape-recording them untainted on a Fazioli performance grand piano in Sydney Sunroom of Songs’s Verbrugghen Hall, where she is examining a master’s in structure. On the title track you can listen to the tool’s renowned illumination and also clearness ring out from its soundboard, created from red spruce dropped in the exact same towering Italian woodlands Stradivarius when accumulated timber for his violins.
Twelve o’clock at night Sunlight really feels out of time, composed on computer systems yet gave birth to by a centuries-old music custom and also human touch– a crash of punk and also excellence that Shannon claims shows up on the track Fossavatn, which has the instability of stones chinking down a high cliff prior to a landslide.
” I have actually spoken with a great deal of artists that have timeless training, and after that provide it up and also do another thing, and also they simply can not birth to take a look at their tool … since there’s all this sense of guilt connected with it,” Shannon claims. “You’re meant to do a specific quantity of hrs a day, and also you’re constantly pursuing this concept of excellence in your innovative method. For me, I needed to attempt and also toss that gone with the band.
” So I type of wished to bring that to my timeless piano having fun. For me, that resembled recovering it … in a truthful manner in which I really felt linked to.”
For a month in Iceland Shannon bunkered down at Engi, a tiny yellow residence forgeting Naustahvilft, a clinical depression in the flat-topped hills bordering the community’s arm. Referred to as “the giant seat” in Icelandic folklore, Naustahvilft is claimed to have actually been produced by a fatigued giant easing her hurting feet in the arm– a suitable area for Shannon’s very own recovery and also innovative restoration. She coped with a United States visuals developer and also an Icelandic poet, the latter of whom had actually restricted English yet would certainly take Shannon bent on forage for rhubarb and also browse through loved ones in a neighboring burial ground.
Although Iceland is abundant with motivating misconceptions and also shocking all-natural appeal, Shannon goes to discomforts to clear up that Twelve o’clock at night Sunlight is not an effort to equate those points right into audio; that she can never ever sufficiently stand for the importance of Iceland’s landscape to its society and also spirituality. Instead, it’s a representation of her experience as an immigrant blown away by the landscape’s greatness– and also bumbling with it while being dive flopped by nesting frozen swifts on treking tracks she presumes citizens could have stayed clear of.
” It’s such a huge inquiry in Australia, since we’re all on stolen land,” she claims. “I’m from a colonizing society. Is it troublesome that I represent this location? Does it matter what type of music language I make use of? If I’m utilizing a symphonic music language from this European custom, is it simply advancing this type of colonial progression?”
Shannon uncovered a brand-new side of herself alone. She keeps in mind an arduous walking to a hydroelectric dam and also lake in the hills. Watching out over the huge landscape and also rolling clouds, she discovered herself alone. There were no roadies and also followers, no bandmates to emulate, no medical professionals and also registered nurses, no carefully fussing relative.
” It was so peaceful, quiet. That complete sensation of simply being totally alone that I do not believe I would certainly ever before experienced prior to. I was kind of shocked that I in fact suched as that sensation. I seemed like I required it.”