Sybil's Leaves by Daniel O'Sullivan

DOS returns from his recently acclaimed post-classical music opus, Rosarium with an addendum of chamber pop magic, Sybil’s Leaves; a title inspired by the Gerard Manley Hopkins’ apocalyptic sonnet, Spelt From Sybil’s Leaves.

Alongside his many other preoccupations; which include bringing Charles Bullen’s post This Heat project Lifetones to the stage for the first time after 40 years, contributing arrangements to Brigid Mae Power’s new album ‘Dream From The Deep Well’, producing and directing Tim Burgess’ recent prog-inflected albums for Bella Union, making a meta doo-wop record with Richard Youngs and composing orchestral miniatures for the the KPM and Sonoton music libraries; O’Sullivan’s focus more than ever has been the ever-widening aperture of his compositional vision.

O’Sullivan expressed his thoughts about Sybil’s Leaves…

This song was written shortly after Rosarium was recorded and could be thought of as an addendum to the album. It was the first piece of music I write on my Mickleburgh spinet. I noticed this piano really opens up in G major which a teacher once told me was the most assertive of scales. The title was inspired by the Gerard Manley Hopkins’ apocalyptic sonnet, Spelt From Sybil’s Leaves.

The song is about the song itself, which often acts as a vehicle for some otherwise unforeseen event in one’s life. A song can be an oracle, a crystal ball, a rune to be cast. The shape and meaning of the song are initially obscure which makes the pursuit of its significance irresistible. However, in retrospect, I see that Sybil’s Leaves concerns the very nature of prophecy itself. Prophecy when determined by another and when expectation and duty preside over the soul’s thirst for communion and fulfilment.

The string arrangement on this song was written by Timba Harris who I met one fateful night at Café Oto while treading the boards with our mutual friend Toby Driver. Timba is a great soul and has worked with John Zorn, Eyvind Kang, Secret Chiefs 3 and many other artists I greatly admire. Much the same as Rosarium, this song was engineered by Thighpaulsandra (of Coil, Spiritualized, etc) who also contributed a synthetic garden with his modular system during the dying embers of the song. My partner, Rose Keeler-Schaffeler joins me with her voice. We were then anticipating the arrival of our son, Percy.

Syncretic composition | Nō Problem

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