Mark Sheeky Music

Waiting For The Rain To End from the 2008 album The Twelve Seasons.

The Twelve Seasons is a collection of tracks that represent different moods and aspects of the changing seasons.

The tracks vary in mood and style from melodic dance music, to emotional and highly visual soundscapes with an orchestral depth.

China Syndrome from the 2008 album Stupid Computer Music.

Stupid Computer Music is a collection of some of my best computer game themes, plus several unreleased studio tunes from past and present. The music is all catchy and melodic, and generally full of energy. Tracks include Hamster Run which was written for Animalia but unused on that album, and China Syndrome, the melody of which dates back a decade or more.

The opening track, Ascent, from the 2008 album The Spiral Staircase.

I originally created The Spiral Staircase in 2002 using the first generation of my music software, Noise Station. My musical inspiration was mathematical structures and the shifting chord sequences in baroque music, the music of Vivaldi and Bach. Organ and harpsichord music is fixed in volume, so its expression and colour must come from the notes themselves.

I wanted to avoid special effects in the music; no tricks or samples that emulate of things in the real world, but to create music that was pure and focused on the notes and chords, using these to convey the emotion and narrative. A story evolved as I composed, a feeling of running and energy; upwards, curling, flying, and the title grew into a fantasy of different worlds which appeared inside a fairytale tower.

The music in The Spiral Staircase is dramatic and highly rhythmic, although there are no percussion instruments. The sound palette consists of analogue waves; saw waves, sine waves and filtered white noise.

This is the second recording of The Spiral Staircase. The 2004 version was one single track. This version was recorded in 2007 using Prometheus, the next generation of my music software, but musically both albums are almost identical, the only significant difference is the addition of the Sea Monsters section, which was composed in 2004 but excluded at that time.

Like all of my music, the compact disc version is the definitive, best, version. I love CDs, and I consider the art and physicality of the format as part of the artwork as a whole. I created the cover artwork in 2002, and produced new super-high resolution images for the 8-page CD release of 2020. The art seems to match the energy of the music, and the mood of the images and the music are inseparable. Grab yourself a CD today!