2CDR ('92), CDR ('93), 2CDR ('94), CDR ('87-'91/'01-'02), 2CDR ('00), 2CDR ('03), CDR ('04), CDR ('05), 2CDR ('05),
CDR1 & 2 ('05), 4 CDR ('05), CDR ('06) ; with Rapunzel CD ('11), as Masstishaddhu // Shekinah : CDR ('98)
PloughmythVenereum Arvum : Scowan Urla Grun & Fower Muckle Sang (UK, 2003)**° & *°° (g->vg)

This CD release with a bonus CD comes in a DVD box with artwork with medieval / Gothic / association and ornamental interest. The players and composers are Rachel McCarron and Sean Breadin. It has been recorded during various performances in a chapel. Sean uses very medieval-like forgotten instruments like gardon, an Hungarian string instrument, the koboz, a short-necked lute of Middle East origin, -known in Byzantium as the pandourion, an instrument thatmade its way into neighbouring regions from Persia by means of Islamic conquests and migrations (the Spanish Christians called it a Moorish guitar), and the crwth, which is a Welsh 18th century’s lyre that has similarities with much older lyres.
-(The lyre itself was build perfectly for the hand that could respond with it in various hand and finger positions. These positions were originally regarded as corresponding with various systems, not only musical systems, but corresponding to cosmogenic positions, to be played in correspondence as well with the spheres and elements, and so on, making music that would respond on different levels at the same time, and moving in harmony with the spheres and positions, or expressing some aspects within the corresponding movements. These methods are somewhat forgotten, but also here are not used this way).-

On this CD various 'traditionals' are interpreted with emphasis on the 'mood' they create. Some patterns of simple acoustic repetitions (by the string instruments), small drone patterns (in the first mostly only organ and such, or loop-like patterns), are combined with some improvisation on clarinet, some programmed percussion, and singing. This singing is also very medieval. The voice arrangements here and there are somewhat odd, weird, creating an almost occult sphere (especially on "Thomas The Rhymer"). The tracks are quite long, but this might be to pull you into the dance and drone trance of the mood. Last track falls a bit off the record. In general this CD creates its own sphere well, somewhat trance-like in its approach.

The bonus CD with even longer tracks uses more droning programming. The evolutions are again very minimal, the voice arrangements have more echo and sound a few times ghost-like. There’s a much more brooding drone sphere here and less acoustic instruments. New here is the use of the jazzy 'cornet', bringing in a new fusing mood. On ‘Tamlin’ the voice of Rachel has almost ghost-like effect in the arrangements. In “King Orfeo” Sean’s voice becomes almost native Indian/shaman like in its troubadour story telling. There’s more emphasis on creating some kind of  magical mood effect, still the tracks are long, almost too long.

Info : &

More info on 'crwth' : (Welsh lyre) & & & ...
More on 'gardon' : (Hungarian string instrument) :
More on 'koboz' :
Ploughmyth            Sedanye : Temple of the four winds (UK,2004)****

Like Always, Sedayne uses ancient and old acoustic instruments for his recordings. On the first track however I seem to hear additionally perfectly fitting sequenced rhythms. The four tracks of this recording describe the four Greek winds. The instrumental expression of them works like a mandala or cross foundation for the four winds, for its airs (also as eventual song expressions) to be sent or live free in them. The performance works this way as if any kind of energy can set free. This can be a very simple enjoyment, working as background music to do the dishes or housekeeping, creating a channel or space for more easy thoughts and feelings, or as a foundation for meditation, or deeper concentration or simply for improvisational creativity without too much pre-destiny or limitations in direction. This fundament has an acoustic purity and clarity which is different from the new age predestined ideas and perspectives. This works more directly as a purifying opener only because all elements are working together. They create a rather hypnotic effect without any blurry harmonies and in this way they are a perfect opener for just anything, a opening up of energy in some variety of creative balance. The second part has some Eastern European touches because of the clarinet use, and different captivating rhythms. All combinations of the mix for me show a true magical effect, with a certain inner peace intact.
A great starter for Sedayne’s music.  

Info :
More on the Greek God of the Winds :
& &
More on the use of the four (Greek names of the) winds :

Ploughmyth            Sedanye : Harvest Myth (part 1) (UK,2005)
Ploughmyth               Sedanye : Autumn in Purgatory (UK,2004-2005)
Ploughmyth           Sedanye : Hearthcharms (UK,1991)
Ploughmyth        Sedanye : All greenness comes to withering (UK,2005)

reviews and links might be added later

Ploughmyth    Sedayne : Magi & supplement (UK,2000)**° & *°° (vg)

This release uses much more the semi-ethnical drone-like effect which some repetitive semi-improvised evolutions create, played by mostly acoustic instruments, creating very nice moods in a kind of minimal trance-folk with a quasi-ethnical, almost shamanic / medieval atmosphere. In some way it relates somewhat to what Atman was doing in the 90’s, although Atman were more than creating moods, also building up psych-folk music, inspired by rituals, done in their workshops in the forests (-nowadays Atman changed into The Magic Carpathians, leaving behind these inspirations, and playing a more free styled music). The longer track “Magi#2” builds up in a really similar way as Atman, speeding up quietly. Except the 'square crwth', koboz also 'deff '(Arabic frame drum) and
'dumbek' (Turkish chalice drum) were used. Until here the cd really sounds really very good.
The ‘Winter psalm tones’ are based upon some musical instrument improvisations, dancing around an infinite repetition of ony a couple chords, without much development, showing somewhat the limitations of this group. The clarinet makes this more acceptable, but I like it best when the duo uses the explorations of all their exotic instruments and their specific sounds they create (like on "Magi#1" & Magi#2)

The bonus CD, with the 10 minute "Introitus" shows again the best side of how the group performs. Here we hear minimalist improvisations with a rich variation of instruments with the wonderful colourful sounds they produce. "Eucharist" is a bit too long for what it presents. Last ten minute is, in combination with the clarinet, another
semi-ethnical minimal mood improvisation.

Info :

King David’s Harp or 'biblical harp' :
Jubilee harp :
Curasaz (saz-instrument) :
Al-urgana : The organ was described in the 9th century by the Arab Harun Ben-Jahja : "It is a wooden object, square in shape and resembling an oil-press. It is covered in a very strong leather and supports sixty copper pipes. The part of the pipes projecting above the leather are covered in gold, but only a part of the them is visible because each pipe is slightly longer than its neighbor. The sides of the URGANA have holes into which are introduced bellows like those used by blacksmiths. Two men begin to pump them, and then the organist arrives and causes the pipes to sing. Each pipe releases a sound in proportion to its length."
Aulos : Greek double flute double-reed woodwind, usually with only four or five fingerholes : &
'deff' :
'dumbek' : &
& &
Ploughmyth   Sedanye : Astray vol 6 : Green as God the touched brow of the winter (UK,1992)****°

CD1 :

The voice drive sphere on this release starts a bit in between Current 93 and Owen Knight, recalling a bit more something like medieval oral storytelling from someone just returned from battle. Instrumentally there is a wider view and world inside. It is a wide open space with a semi-ethnic psychedelic dance-like shamanistic feel, a bit Eastern European and medieval at the same time. It's hypnotic and still close to the earth like a ritual dance. (Quote of Sedanye : “Resonance flows into the atmosphere, mixing with it, atomizing and inhaled as a cat smells a mouse or you hold a lover, revelling in the overarching sensation of the exotic”). If it is true that draconic spirals of natural powers are like dark powers and as if from hell, that surely explains the dark magical tension, especially in the beginning. Similarly these powers bind us to our earthly existence, no matter how far the mind prefers to flee free. The songs fit with a harvest feeling, where nature, like each process inhabits this necessity, falls back on its vast and stabilizing elements, purified from the struggling power of the desire. The dance trance effect becomes more relaxed and with inner liberated harmonious calmness as if the music itself shows a magical transformation and evolution. Listening to the music is like listening to a ritual which benefits a soul in a natural rhythm and environment. It's like reviving something of the magic of the 'old ones' through use of all these old instruments. Used instruments are rabab (=Afghan pre-sarod precurser bowed instrument), talgardon (fusing lyre used as drone instrument), harmonic pipes, hummel (=large European ten stringed instrument), whistle flutes, koboz, winter fiddles, horse hair fiddle, gardon, bird flutes, (plucked & bowed) crwth, round crwth, mbira (=thumb piano from Zimbabwe usually in calabash resonator), tabla, horn, syrinx (=Ancient pre-organ a-like pan-flute instrument), camel bells. “Winter Hare Dance” is the longest track, counting over 12 minutes. The instrumental improvisation has a small bit freeer part, then reforms itself to an attractive psychedelic dance-like mode, changing into more old medieval dances on the following tracks, until a second relaxed moment, like a hopeful winter. Having come to that essence the voice sings then even about the most darkened moments with a certain happiness, fulfilled by celebration. "Bird and trout" still is a freighting reality contrasting story. "All gates are open gates". "Ceres" with Indian-like flute, crwth and koboz is a beautiful closer for a perfect concept of a CD.

Magical in a true sense ! Recommended starter.

CD2 :

The second CD goes even more towards ‘winter’ with winter dances and with some folk improvisations. On the second track, “Nbeh & Cassiopeia prelude” (rabab, harmonic pipes, koboz, gardon) with lots of flutes and acoustic strings the music is very reminiscent to some Kwartet Jorgi work I've heard. The music on this second CD  switches nicely from narrative songs to beautiful instrumentals. The fifth track is the longest track, and is called “Winter hare dance” (over 10 minutes) and is half narrative / half sung and repeats a trance-like a kind of circle dance. All the texts give the impression that they are inspired out of a trance state of mind. This could mean a creative state of mind, or might have come from an astral visionary who persuaded with a shamanic goal some structured sense. I guess the music might be based upon traditionals but probably it is not. I must say I often find recordings of real roots traditionals not really that appealing, except when the musicians have a deep founded philosophy about what they’re doing, and then it gives a stronger impression of a more universal “real thing”,  instead of a remembrance of an essence that has been forgotten but is in some outer form still maintained. This music sounds also a bit “like traditionals”, but then for me as the “real thing”, with a creative thoughtful force for change. Great !!

The bonus CD present three nice calm somewhat hypnotic improvisations. The second track sounds like a slow medieval dance, and has a few more rapid more exotic bass rhythms over it. Even the last track pulls you in easily. A wonderful enjoyable bonus CD.

A recommended release.

The six volumes :
This volume : 

Info on 'rabab' :
& & & &
Info on 'hummel' : &
(see 3rd instrument on picture
Info on 'mbira' : (picture : & & & & & & &
More on 'syrinx' and other Ancient Greek instruments :
More on Ancient Greek hydraulic pump organ :
Technical details and analysis on the instrument :
About pan-flute & syrinx :
All kinds of pan-flutes :
United Diarees / Psychedelic PigMasstishaddhu // Shekinah (UK,1998)***°’

For this release Sedanye (Sean Breadin), hurdy-gurdy, crwith, percussion, formed a trio with Outside Bill (Mike Watson), cello, flutes, voice and Richard Rupenus, (also from The New Blockaders) on voice and gong.
The first track ‘For the dead and unborn’ is said to be a different version of the composition “Daghda” off the album “The Stones & Trees of the Small Palace”, an album which encompasses winter in a wide context, referring to its metaphors of death and rebirth. The second composition, 'Angels Gather Here Between Purity of Heart and Hopeless Despair' is also a different version of another track from the same album, which this time is called ‘For the Dead & The Unborn'. This was inspired after a lyric by Lord Ishmael Loomis.
The very good release in its complete score which sounds like a soundtrack from another world, is achieved by a trance-like visionary state of mind in music.
First composition is somewhat loose and free, developing a beyond-this-life powerful pulse through droning and gives a sense of a somewhat ritualistic music. The effect has something of the occult without a deliberate direction. It has a dark inner sense as if made in a sphere of the shadows of God and while the musical visionary mediumistic world shows itself as if from amongst the undead at first, within “His” presence this still has its vividness inside, as being not dead. The second track has more overtones, and shows a different “breath” from deeper inside this vision. More voices gather and seems to be one brooding organ, where the individuals have tendencies to come to life or some awareness, but mostly are just being adapted in the whole, musically and otherwise. Like the voices of the dead, not wanting to be in that state, they pulsate between being more than old, then almost cry like becoming a baby. Then the strings and drones take this brooding whole over, and bring the little partial underlying restlessness in its condition to peace. For me, an effective, acoustic “soundtrack”.
Very good !  Unfortunately sold out, because it was extremely limited.

More info :

PrivateSedayne : The Stones and trees of the small palace (UK,1987-1991 & 2001-2002)***°

CD1 : “Hunting and gathering”, with slow hand rhythm, flute-pipes and harmonic resonating bell, creating beautiful overtones, a spacey harmony of tones, starts this album (after a short “winter song” verse) with something of a true profane feeling of a gathering in respect to the most quiet starting place, becoming an area of meditation, or an accompany to some aspects on a higher plane. This 16 minutes and a bit track shows a hypnotic peace with beauty, which works brilliantly for its whole length without any obstacle. “Daghda 1” after that is a musical improvisation, a bit more earthly, less focused, atmospheric, with different, also more earthly musical instruments, like hurdy gurdy, some bowed instruments, combined with flutes. “For the Dead and Unborn” after that stays a bit in between the earlier meditation and the earth and air plane of improvisation. “unborn” here is more in the sense of a yet unborn creation of composition. The “Daghda 2” refocuses the ritual trance-effect and circular-like improvisation structure, and endows this influence on “For the Dead and Unborn 2”. “Gull Mass at Holy Island” has besides long distance carrying flute-pipes also water sounds, gongs and bells, creating an area as from an Island with a church or so. It is a simpler track which is a bit long for its expression. “For the dead and the unborn Part 3 & 4” holds the middle between all this. It has calmness, a breathing pulse, some overtones, and the mystical aspect becomes a calm foundation of accepted simplicity and peace within its “place of not be”. In some way it describes a similar travel of an astral mind as on Masstishaddhu // Shekinah, but on a more earthly plane, as this is a description of a state of small objects in nature, like indeed something like “stones and trees”, in its wintery state of being nothing more than itself in its place. I once described myself in a poem something like “in summer all leaves are in a struggle to become, in winter a tree just is". I also described the following thought in that same poem, which fits with this release and music as well : "At this point I'm glad with all that is lost, because things now have the opportunity to fall back on only what they exactly are, without their griefs caused by unfulfilled desires." It's in that way such a wintery state has the ability to purify.

CD2 : Second CD, called “The Onset of Winter” has three long tracks. It sets immediately the filmic scene with church bells, natural sounds, hurdy gurdy and other instruments. It starts from the same ‘nature field’ on which the first CD had set its astral-like visions. First as a kind of ‘herd gathering’, with bells, but also birds-like flutes it shows a larger group of creatures. Then it evolves with a Native-Indian like energy, but then with much more concentrated people and energy (as e.g. accompanied by various shamanic people’s voices in the back), in a tension like a bees' nest waiting to come out of its serpent’s like unrest, unfed. Then the musical camera moves to some other places in the surroundings. The birds share this unrest somewhat too. There is a certain tension as if something will happen, though not too soon. It might be the symbolic coming of spring, I’m not sure.. In any way it remains filmic. Just imagine a winter tree bowing down, heavy from water and ice. In the second part, odd flute harmonies are spread over a bed of hurdy gurdy with bird and birds-like sounds in the background, until it changes into a dancing like music of celebration. In the last part it is as if the whole nature of animals participates in this dance, together and successfully. In the background a voice then sings along with this concluding celebration, with something like a verse of a poem or a priest-like vision with a human aspect. Then the filmic scene shows just a very short time the active nature, solo. When the music comes back in, the flutes seem to have found their harmonies, and the rhythms their natural response.. When the hurdy gurdy drone rhythms seems to be no longer necessary, nature's sounds take over peacefully.

For those seriously interested in shamanic practice of astral imagination this musical trip is a perfect guidance.

Info :
Ploughmyth   Sedanye : The Music of Erich Zahn (UK,2005)***

This is basically a long, compelling improvisation on a viola with, I think, different strings and tuning. According to the liner notes it's done by "accursed viola and liminal processing".

Some tunings have the effect of a transcendental nature, bringing you in the right state of concentration, which has the intention to get you further than being dependent on causal thinking, bringing someone into a more hypnotic state of deeper concentration. There exist some writings about it, that dig deeper into this matter. A phantasy book about that is by H.P.Lovecraft, which, like many books of H.P.Lovecraft is based upon some deeper principles. It is called "The Music of Erich Zahn". Some listener got scared in this book about strange violin solos from a guy called Erich Zahn in an apartment, as if it worked in a certain transcendenting way opening up the unknown. The violinist told him it was to keep away monsters from the apartment, an idea which kept the listener into some tension of fear. It might have been this twilight zone sphere that could recall just anything.

Info : Read also something about the 'Voynich transcript' and a musical code :
Other Lovecraftian music : see
Ploughmyth   Sedanye : Astray Volume 3 : Splendor Solis (+supplement) (UK,1994)****/***°

Included here are beautiful and increasing optimistic improvisations on mostly old instruments describing a sphere of fresh morning dew, about available circumstances for growth with a respect towards this ancient natural ritual of spring development on all layers of existence. Used instruments are 'dholak' (Indian 2-sided drum), alto clarinet, rain stick, birds, flutes like Chinese flutes, bells, like animal bell, gardon (Hungarian string instrument), crwth (Welsh 18th century’s lyre that has similarities with much older lyres), cura-saz, low whistle, goat (?), storytelling, harmonic pipe, rattles, bells, frame drum, harmonic pipes, rattles, plant pots, melodica, talgardon (fusing lyre used as drone instrument), 'khun' (see below for info), cymbals, gongs, 'berimbau' (info see below), woodblock, 'anklung' and a plastic drum machine. The music is recorded mostly with three or more instruments improvising on top of each other. The kind of hypnotic rhythms and evolutions on this album are light and as refreshing as upcoming spring, or describe parallel or other kind of “new” development sphere.

The bonus CD starts with African-like mood and instruments, caused by the choice of combinations of instruments (rainstick, birds sound, khun, rattles,  bells, kalimba, gardon, melodica). This is the sun taking over an awakening city, like the image shows us. Like each track of Sedayne, this is recorded according to the right moment in time, which does not need another intention other than to adapt the right inclusion which nature is stimulating. An improvisation on such a moment inhabits fluently the right stimulation to an expressive musical form. Like Indian music has theories behind ragas for each moment and sphere and stimulation of what qualities one can adapt easily on such moments, Sedayne succeeds to make a European example. The whole collection of the Astray volumes is a deliberate and thoughtful assembly of collected stimulations in harmony with a natural rhythmical cause. In this case this volume and also the bonus CD is generally governed by a spring development. New instruments used are the 3-hole pipe and two end-blown bamboo flutes. Various tracks have similar instrumental improvisations on bowed strings like the crwth with additional bird whistle and combinations with hammered music instruments. The bonus album becomes a bit long for its repetitions. 

Info :
Info on supplement :

Info on 'dholak' : It is a double sided drum. The body of the instrument is made of one piece of wood. Hollow, the body has two opertures of different size, one, small, that will generate high pitched sounds and another, wider, for low pitched sounds. The walls of the instrument are 2/3 centimeters thick and give it stability in the low frequencies. The two skins are stretched together by iron clad. The dholak is the main accompaniment instrument of the Qawwali. Qawwali is an Indian Sufi Muslim musical concept expressed in many poetical styles, and based on the classical structure of tala and raga. Qawwali is a meeting point of Islam and Hinduism, making use of the repertoire of the Arab and Coranic qaul, of Persian poetry, of Indo persian ghazal and at last but not least of the Hindu bhajan.It uses the poetic delicacy of its texts to open the fire of extasy in the public's heart. It includes numerous praises to Mohammed or to Ali, love poems where the Divine is transposed to the Sensual, but also extraordinary esoteric poems from the Sufi masters. Qawwali is sung by a group composed of a leader singer assisted by one, two or three of his best students. A choir (composed of the other students) adds strength to the music. The rhythm is underlined by the traditionnal dholak, a two-faced drum and the melodic accompaniment by an harmonium. Other applications range from Carnatic dance music such as bhangra and garba to devotional bhajans and keertans. It is not used for classical music. While before it was only played by a few chosen masters, today it is relegated to filmi and folk music. The left hand is also a single membrane with a special application on the inner surface. This application is a mixture of tar, clay and sand (dholak masala) which lowers the pitch and provides a well defined tone. There are two ways of tightening the dholak. Sometimes they are laced with rope, in which case, a series of metal rings are pulled to tighten the instrument. Sometimes metal turnbuckles are employed. It is said that this instrument used to occupy a position of considerable prestige. Today it is merely relegated to filmi and folk music. The dholak is barrel shaped with a simple membrane on the right hand side.  The left hand is also a single membrane with a special application on the inner surface. The left hand is also a single membrane with a special application on the inner surface. This application is a mixture of tar, clay and sand (dholak masala) which lowers the pitch and provides a well defined tone. There are two ways of tightening the dholak. Sometimes they are laced with rope, in which case, a series of metal rings are pulled to tighten the instrument. Sometimes metal turnbuckles are employed. 
Additional websites :
About electronic dholak :

'Khun khur' is a Mongolian swan-head lute-like plucked instrument with two strings tuned a fourth or fifth apart. Its long fretless neck ends with a caring of a swan. 'khun tovshuur' is a similar Mongolian string instrument, similar to the lutes of Tuva, Altai or Kazakhstan. The body and the neck are carved from cedar wood and the body is often coated with the leather of wild animals, camels or goats. The head of the neck is formed like a swan. The Mongol legends say that they originate from a swan. The strings are plaited with horsetail hair and tuned in the interval of a fourth. PS. The Chinese word 'li khun' is the name of the first of the twenty-four terms into which the Chinese year is divided, dating now from the sun's being in the fifteenth degree of Aquarius. If I'm not mistaking it's related with a spring-like nature.
More on Traditional Musical Instruments and musical theories behind it  from Myanmar (the country between Bangladesh & Thailand, which is also called Burma)
More on Mongolian instruments :

More info on 'berimbau' (movable one string instrument which is gourd-resonated (=calabash, sometimes a coconut is used when it's not available), a braced musical bow of African origin The instrument consists of a branch of preferably biriba, or otherwise bamboo, tapioca, araca, oak or other wood bent into an arc. The bow is strung with a single metal string, nowadays often recycled from an industrial use. The 'viola' has the highest pitch and is usually used for playing solos and virtuosisms. The mid-size cabaça is called precisely medio and has the role of the rhythm-keeper. The largest cabaça is the gunga and it plays the bassline, there is also a XL size cabaça called berra-boi but it is seldom used nowadays. Double-string berimbaus were used by Naná Vasconcelos, Okay Temiz and Franco (who also developed a double-berimbau -literally two instruments joined as one). Romão, Temiz and Franco developed electric berimbaus. Temiz also developed an electric double-string berimbau that featured the addition of separate microphones and signal processors for the string, gourd and caxixi. His technique involved using as many as nine signal processors simultaneously in conjunction with a free-hand grip, which allowed the left hand to slide the coin farther up and down the string, producing many more than the traditional two pitches. By amplifying each part of the berimbau, Temiz could exploit other possibilities, such as tapping on the gourd with the coin, fingers and stick, successfully producing traditional Turkish rhythm. Brazilian Dinho Nascimento built a large bass berimbau, called berimbum, which used the string and tuning hardware of an acoustic bass. In the 1990s, Dinho Nascimento developed a blues-like slide-berimbau technique, which involved holding the bow against the body in a free-hand fashion so that a glass slide could be used to bend the tones of the string. At the same time Italian Rosario Jermano developed another slide-berimbau technique that called for a new left-hand grip and the use of a metal guitar slide in place of the stone or coin. These slide-berimbau techniques employed on the traditional berimbau are usually played in a vertical position.
More info on berimbau (parts of my info comes from the following article) : &

'Anklung' uned bamboo slide rattles, have been used throughout Indonesia, Malaysia and Thailand but most known for Indonesia (West Java). The instrument must be shaken. More info :
& & & & & & &

More on Sedayne's instrumentarium :
Info on 'citera' a recently newly achieved instrument from Sedayne :
Ploughmyth       Sedanye : Astray volume 1 : The Raging of May (UK,1993)****

This is the first in a series of ‘natural rhythm’-related ceremonial music (played on alto clarinet, prepared and adapted guitar, percussion, whistle flutes, khun, kalimba, rabab, gardon, cymbals, bells, rattles, angklung, whistle flutes, khun, wee moothie -which is the Scottish folk related mouth organ or harmonica- and some spoken word). This first part starts in a condition of a considerable prepared energy, a slightly warmed up Dionysic tension, with the other hand some thoughtful meditation within this area, which is a handful of  tensions which seek for balance. It’s like the struggle between let’s say a sexual desiring energy and any achieving prospects. Especially on the title tracks parts this struggle seeks harder for balance, which at some point is nicely presented by some slightly atonal conflicting flute harmonies, nervously vibrating free rhythms, and so on. After a while this spiritual ritual music succeeds to find some temporal human balance of beauty, like in a kind of medieval dance in “Tempus est Iocundum”. But the unrest of the “raging of may”, -which is in its imbalance expressed somewhat with a free jazz tendency (expressed only in details, still within natural rhythms and evolutionary patterns)-, cannot simply be cured by some earthly dance, because it seeks for stronger recreations. Nature wants to grow and not just entertain itself, it seems to say, and through it's passion it rediscovers itself and gives itself a renewed foundation, while reconsidering, and being able to redefine itself and its basic energy. Because the last track, a Coda, ends like a perfect compromise between some kind of free jazz and ritually and rhythmically organised music, I assume in the end all ideas of having both energies present, is accepted, because they are both eternal and necessary, and are not meant as an infinite struggle between them, like some ignorant or so called religious people could make of sexually driven energies. The “raging of May” is a necessary drive.

Info :
More on the Astray volumes :
Ploughmyth           Sedanye : Zither Songs (UK,2005)***°'

This album reveals the true essence of (story-telling in song) troubadour music mixed with a magical, deep mystical touch. Sedayne here took the citera as his basic instrument to play, which he restored himself from an antique Hungarian instrument. It took him years to do this and to fully understand the essence and heart of this unique hand-made instrument. And he truly discovered the heart of it. The instrument has a beautiful colour, sound range and drone. Played on medieval-sounding ballads it never sounded so natural and rich. A second instrument he used is the related hummel.

Ploughmyth           Sedanye : Zither Songs box (bonus CD) (UK,2005)***°°

Sean (from Sedayne) decided to make from the earlier "Zither Songs" recording, a double CD box also. Because all songs on the first release have the same elements in each song, the complete first CD should work as from a trance-vision, but on bad equipment and at some moments it could eventually become slightly tiring. The supplement in that way, starts with a surprise, because the first track, a Sedayne song, uses also some pocket trumpet, pulling your attention completely back in. Most tracks are traditionals. “Bird Robin” sound exactly like one, but it is a Sedayne track. For me the music truly works as I think they sound as original troubadour performances with its own vision, and natural portion of magic. It is as if Sean knows that the true feeling of how to perform and let the songs sound as if they’re from a magical world. At a time when I've put them against a conservative repetition of ideas of how medieval songs could be played Sedayne is on a truly different level, recalling the true spirit of ancient performances. The last track is with additional bird whistle and melodica. The supplement CD has over 77 minutes of music. For me it was as if it was over in a minute.

Info on these releases :
Info on 'citera' :

- Info on the related but later 'zither' :
& &
Info on 'Guqin Silk String Zither' :
Webpage from Czech zither museum :
Webpage from Suiss zither museum : -

Info on 'hummel' :
Ploughmyth            Sedanye : Hinterlands (UK,2005)****

It was difficult for me to review this again wonderful double cd in dvd box, related with the winter spheres. While summer is dedicated to immediate contacts and enjoyment, winter is a fine time to resume last year’s heritage, and this music for an evening filled with listening pleasure before the hearth surely has something to offer. Like stories from rich times, this is a mini orchestra of one person with changing instruments and moods into one rondo of improvisation. Starting and ending in a slightly jazzy mode with trumpet, most improvisations have that typical flavour of ethno-traditional old music, slightly moody hypnotic with minimal-to-the core of the mood, with layered dialoguing instruments.

The first CD is in no searching for new territories mode, but is a beautiful private concert resume of the capacities of Sedayne’s abilities to create something spherical of its own. The second CD however sounds more in a dedicated ritual like sphere, for the same reasons an indoor creation. Both cd’s are thematical and have overlapping themes and titles, but it is especially the second cd which goes deeper into the haunting atmosphere, a dedication to all who and what is death perhaps, at first profound, moves with the deeper concentration into the energy of the matter, with an inner magic of the true shaman, capable of directing and making contact with his music to beyond this world. Then accordion and the cornet/pocket trumpet theme brings it back to this world, moody, relaxing and bringing comfort. “Pennipotent Quero”, like perhaps also other tracks, seems to have traces of styles which the old instruments inhabit. This is followed by another trance-like acoustic improvisation, “Assidus Custis Ruris”, (with stringed and plucked string instruments, warm handpercussion and sweeping flutes, like a perfect dance in balance with the elements which the individual and combination of music instruments present). “Stones and Trees” calms down with calm ritual rhythm sand flutes, like stones in wet grass and nature, with trees looking down upon people sitting on the ground forming some circle of meditative concentration, like explaining circumstances by throwing stones and interpreting them while the surrounding nature, in music, grasps it all, with a calm, transcending all encompassing energy. “Winter Psalm tones” is a perfect concluding closer of another great double CD set of Sedayne.

Audio : "Hortus Cupendis (Cupid's garden)","Totentanz Natura"
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Ploughmyth   Sedayne meets Sundog along the byways of Vagabondia (UK,2006)***°

In a conscious improvisation, being one with the environmental slow change of things, this is recorded with nature from the May-morning fields of Norfolk on the background. What is created consciously, when its takes shape in time, that what it revealed, makes disappear that conscious control, for is stronger than thoughts. While the music starts rather melancholic and deep down into the one-ness of being, the self-consciousness "I", the creation and creative process itself becomes more vivid and surprising, for they succeeds in overcoming any momentous feelings, and begin to roll and take shape more joyfully and with a feeling of oneness within this environment, thus overcoming smaller self-controlled thoughts. While Sun Ra, symbol of freedom, and Moondog, as the structure, meet in ‘Sundog’, (-perhaps sundog could be associated also as the opposite of sun-god-:) the opposite god-shadow of creativity, where things shape themselves more freely, than the ideas beyond creations can control mentally. It is dark in its content because it’s hard to get a grip upon. It is loose like a vagabond, for it is more intuitive than mentally conscious, and although the musician is dependent on the environment like a ‘fool’ (see tarot), it can also become here like a magical master, when he finds the way of how becoming one.
Basic instrument is the citera in combination with trumps, gew-gaws, scacciapensieri, dan moi, crwth, raba, horse shoes, daff, bodhran, bells, flutes, harmonic pipe, birds and Salle piano.

PS. Sedayne told me about the connection he had of sundog with Moondog and Sun Ra, but afterwards he added even more : "The name Sundog also relates to the actual atmospheric phenomenon also known as Parhelia - see etc. It was witnessing a Parhelia that made me connect Sun Ra and Moondog, thus connecting me to a notion of Myth-Science in regard to our perception of Nature, which is to say what we know to be true (i.e. what science has told us to be true) and what we perceive (and how we respond to it) are often two very different things.  How often in witnessing a sunset do we perceive the rising of the horizon in relation to the comparatively stationary sun?  The scientific explanation becomes as mythic as the Ancient Egyptian tales of Ra; thus is Sundog bound by Nature, bound by the beauteous splendours of Nature, as knowing as unknowing - hence Vagabondia: "To the Vagabond, the whole world is the Kingdom of Vagabondia"* - the Vagabond is also the Shaman; forever the passer-by, his feet never touching the same place twice, the hub of his own perceptive wheel..."
* the actual phrase is "It stretches from the open sea to the blue mountains and beyond;  the world is Vagabondia to him who is a Vagabond." - Bliss Carman.

Remark of Sedayne : "Sun Ra's philosophy was always one of discipline rather than freedom: "If teenagers are lost, it's because they've been fed on notions of freedom rather than discipline..." - it's one of the great paradoxes that one can only experience true freedom through discipline; discipline leads to true freedom & liberation..."
Answer : "Well, Sun Ra stands for me a bit for freedom. He thaught that his disciples had to know their skills well, and then they had to deliberately forget everything, as to brake all restrictions like and go beyond them. THe free ride doesn't come without any preparations. It's like the final liberation of what has been gathered and braught together structurally at first."

This music is an exclusive down-load only release from Woven Wheat Whispers and will be available on June 21st...
Extra video link : A short film of the mediaeval roof bosses in the Upper Room of the North Porch of the church of Saint Peter & Saint Paul in the village of Salle, Norfolk, UK one perfect sunny afternoon in May 2006.  Images by Sabrina Eden with music by The No-Age Sounds of Sedayne (Sundog Astray) - A Ploughmyth International Presentation for Autumn (Fall) 2006.
Folk Police Rec. Rapunzel & Sedayne :Songs from the Barley Temple (UK,2011)***°

Having had the opportunity of having heard so many earlier demos and releases, the least I could do is to show the deserved interest in a later official release. My first impression is that of a full learned druid, bard and shaman and improviser of a whole range of storylines of human history, here is brought back to a direct public with the help of the perfect female companion. Nothing too strange or faraway here, you will recognise several traditional songs, there’s even an up tempo track which people wait for to sing along. But even though the world is as real as it can be, the magic isn’t lost, only the darkness sheds more light, in a lighter way too. The way both singers adapt so well together is amazing, harmonious, fluently as if and this is also (for they are husband and wife) being life itself, once male, then female led. Most of the accompaniment is just banjo and violin. The violin has this special straw-dry, unique flavour, which gives the improvisations with it a special mood. At times it comes to a more Appalachian mood as well, with a few song that cross a folk Americana touch. It is all about song-telling and mood, which not necessarily follows the most commonly repeated tradition, but never the less remains convincing. When the sad moments draw you in the magic of the choice of improvising shows its powerful vision in all its effectiveness, never being more complex as it should be. A few instruments appear as well, like a near east-european flute solo, harmonium and who knows what else. It is an album which I needed to give a few listens, it still doesn’t take too long to show what needs to be shown. These people are in, with and an expression of the music they play and perform. This truly is what tradition/roots could be about.

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