An excerpt from the anonymous account of a sailor stationed on the foretop of the merchant vessel Good Intent, describing the events of the year 1840 and subsequent, first published in London in the year 1851 -
Often, it seems to me, at the most pivotal moments in our lives, the fates taunt us with strains of music. And so it was on the morning I embarked upon the most significant voyage I took upon that most fated of ships, the Good Intent (a voyage where we would become acquainted with evils devised by unseelie beings and the still greater evils devised by the mortal heart - but more of that later). On that dreary, filthy Glasgow dock, as we made ready the ship, we heard a tune that would haunt me for years afterward - indeed to this very day.
The musicians crowded under a low awning, their faces lowered in shadow beneath their unkempt hats, and they hacked away at their particular instruments - a scratchy violoncello, a wheezing accordion, a decaying miniature specimen of that twanging keyboard instrument that populates the estates of the idle rich - and put forth a song that blended with the howling wind, the creaking timbers of the docked ships, the cries of seagulls in the cold morning air.
And thus, before our fateful voyage began; before I knew the true reason why our reluctant Captain, Mari Cascade, had left her far-off homeland; before I knew what consequences would be brought upon us by the individualism of bold Lus Erebus; before I knew the secret that enigmatic Welkin Caulk hid in the folds of their oversized coat - before all that, I say, the sad song of those musicians on the shore presaged something of the journey to come. The song seemed directly to speak to me, to tell me that I had signed on for a great adventure - a sad adventure, yes, one full of woe and strife, but an adventure nonetheless…
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This is the soundtrack that we wrote for our group's tabletop role-playing games of October to November 2019, using the system "Alas for the Awful Sea" by Hayley Gordon & Vee Hendro.
Cover art is an adaptation of "Chasing Moby Dick" by Bruno Angius.
credits
released February 5, 2020
Tracks 1 and 3 written, played, and recorded by carrie z; Tracks 2 and 4 written, played, and recorded by celloandbehold; Tracks 5-6 by both of us.
supported by 13 fans who also own “The Sea, The Sea!”
i finished listening to hieron while i was at work and was not told until i was leaving a few hours afterward that i was visibly, noticeably weeping. you've done it again jacko logan666
supported by 12 fans who also own “The Sea, The Sea!”
Jack is a master of the sublte. Epic in scale and delicate in delivery, often turning emotions on a short sequence of notes. I wish they would embrace singing more as well because The Balad of Sister Rust and Tell Me are both incredible examples of their talent and ability. hazelforgotten
supported by 12 fans who also own “The Sea, The Sea!”
My brain is, at any given moment, replaying Austin Walker saying "So, there's this train..." and this music increases that probability by at least 70%. vincentavatar