‘Christmas Is Here’ was commissioned by Mirabilis Collective from West Australian composer Julia Nicholls for Shine, our festive concert celebrating music written by women. The brief was simple yet inspiring: create an upbeat, joyful song that channels the irresistible energy of 1950s and ’60s girl group music, complete with feel-good harmonies and rhythmic drive. Julia delivered a piece brimming with warmth, charm, and nostalgia.

Reflecting on her creative process, Julia writes:

"Writing Christmas Is Here, I was inspired by my memories of Christmas family traditions. Things like making gingerbreads and blasting So Fresh: Christmas Songs From Past > Present on the CD player. Setting up the tree each year, dragging it out of storage and fanning out the shiny branches in a way that could hide the increasing bald spots. Arguing with my sister, Lucinda, over how to arrange the different colours of tinsel. Hanging up an eclectic bunch of ornaments, from ornate angel figures from the ’90s to Hi-5 cardboard baubles strung onto pipe cleaners."

Julia brought her love of ensemble singing into the heart of the song.

"Something I really wanted this song to do was celebrate my favourite thing about Christmas, which is all the ensemble singing. When I make music with other people, especially when we’re singing, it’s one of the best feelings in the world. I wanted to put a spotlight on that, so I made the chorus all about it. I really enjoyed writing three-part harmony sections for Luce, Rachel and myself, and they were very fun to sing as well!"

“I took inspiration from a bunch of different places. The melody of the chorus came into my head when I was washing my hair. The idea for the bit just before the second chorus came from Hilary Duff’s version of “Jingle Bell Rock” on her album Santa Claus Lane, another one that was always playing around the house in December when Luce and I were in primary school. And there’s a third source of inspiration that’s very close to my heart—but that one’s a secret…”

The result is a joyful, harmony-filled track that captures the excitement and connection of the holiday season. Recorded with Lee Buddle at Crank Recording, Christmas Is Here is now available for purchase on Bandcamp, and Apple Music.

Discover more about this festive gem by listening to the track. We hope it brings as much joy to your holidays as it has to ours!

Listen to Christmas Is Here

Reena Esmail is an Indian-American composer known for her work that bridges Indian and Western classical music. Growing up in Los Angeles, Esmail was immersed in Western classical music while staying connected to her Indian heritage. She studied composition at Juilliard and Yale, and later received a Fulbright grant to study Hindustani music in India. Esmail's compositions connect cultural traditions, incorporating Hindustani raags and Western harmonies. Her work evokes a visceral, emotional response, encouraging audiences to find a sense of shared humanity through music. Esmail also works with ensembles around the world, encouraging dialogue and connection through her art.

A Winter Breviary exemplifies Esmail’s unique musical voice. It is a triptych of carols that intertwines Western choral traditions with Hindustani classical music. The work sets new texts by poet Rebecca Gayle Howell, guiding listeners through the solstice—the year's longest night—by aligning the Christian canonical prayers of Evensong, Matins, and Lauds with Hindustani ragas: Hamsadhwani, Malkauns, and Ahir Bhairav.

The first movement, “We Look for You”, captures the feeling of anticipation as darkness falls. It aligns with Evensong and Raag Hamsadhwani, often played at twilight to invoke auspiciousness. Howell's text evokes a pilgrim searching for light. Esmail’s setting uses delicate harmonies, overlapping vocal lines, and melodic figures from Hamsadhwani to create a sense of wandering and hope. Hamsadhwani's ascending structure mirrors the vocal parts, conveying optimism and reaching out for something beyond.

The second movement, “The Year's Midnight”, represents the deepest point of the solstice night, corresponding with Matins—the darkest hours before dawn—and Raag Malkauns. Raag Malkauns is sombre and introspective, evoking a deep, meditative atmosphere. The harmonic landscape is brooding and dense, with a slower tempo that draws the listener inward. Howell's poetry speaks of stillness, and Esmail’s layering of vocal parts creates a soundscape that is vast yet reverent. The movement embodies embracing darkness as a space for reflection and acceptance, with intertwining voices recalling both Western polyphony and Hindustani melodic lines.

The final movement, “The Unexpected Early Hour”, signals dawn and hope, drawing on Lauds—a time of morning prayer—and Raag Ahir Bhairav. Ahir Bhairav is a morning raag, characterised by a balance of light and gravity. The movement opens with harmonies that gradually brighten, mirroring the sky's illumination. Howell’s text speaks of the miracle of early light, and Esmail’s music captures this shift from darkness to hopefulness. The choir's harmonies rise, moving from introspection to something celebratory. The voices come together in affirmation, reflecting the sacredness of morning and the serene beauty of an Ahir Bhairav dawn.

Reena Esmail’s A Winter Breviary takes us from the shadows of the longest night to the dawn of new hope, weaving together Western choral music and Hindustani classical raags. Each movement offers a different shade of winter—a season marked by stillness and introspection, but also by the promise of new beginnings.

What makes this piece profound is its ability to speak across cultures. By combining Evensong, Matins, and Lauds with Raags Hamsadhwani, Malkauns, and Ahir Bhairav, Esmail highlights the universality of our shared human experience—how we all seek light in times of darkness. Howell's poetic texts invite us to embrace the chill of winter and find the small miracles in even the coldest times.

The interplay between Western and Hindustani traditions in A Winter Breviary is a reminder of music’s ability to cross boundaries. Just as Christmastime can be a time for reflection, Esmail’s music encourages us to look inward, to connect with traditions old and new, and to recognise the beauty of light’s return. This is music that speaks to both the season and the soul, urging us to find solace and inspiration in the interplay of darkness and light.

Listen to A Winter Breviary I , II and III

Esperanza Spalding is no ordinary jazz artist. She has been continuously redefining the boundaries of genre and performance, weaving together elements from jazz, soul, pop, and experimental music. A five-time Grammy winner and a Berklee College of Music alumna, Spalding has evolved from a prodigious jazz bassist to an artist capable of cross-genre reinvention. Known for her audacious live shows, she recently captivated West Australian audiences during the Perth International Jazz Festival at the Regal Theatre.

One of the standout pieces from this performance was "Dancing the Animal (mind)," from the album 12 Little Spells. The album revolves around connecting the physical body with deeper emotional and metaphysical experiences. Drawing from her exposure to reiki healing, she assigned each song to a specific body part to inspire healing and self-awareness through sound. "Dancing the Animal (mind)" reflects on how instinctual behaviours coexist with rational thought—challenging listeners to embrace both their primal and intellectual sides. The song's dual narrative of mind versus instinct encourages listeners to "guard the animal" within, balancing between technology's allure and raw human emotion. The album saw Spalding nominated for two Grammy Awards, winning in the Best Jazz Vocal Album category.

Esperanza Spalding's recent performance in Perth exemplified her ability to transform philosophical concepts into powerful musical experiences. She seamlessly integrated her bass playing, vocals, and movement, demonstrating an organic connection between the abstract themes of her music and the dynamic energy she brings to the stage.

Spalding describes creativity as a kind of alchemy—a process of turning simple ideas into something profound and unexpected. "Dancing the Animal (mind)" embodies this approach, utilising rhythmic complexity, harmonic shifts, and Spalding's signature vocal dexterity to create an immersive sonic experience.

The song's title itself hints at the core concept: the interplay between our primal instincts and our higher cognitive functions. Spalding's lyrics, delivered with a mix of spoken word and melodic phrasing, delve into the nature of consciousness, questioning the boundaries between the "animal" and the "human." She challenges us to acknowledge the instinctive, intuitive aspects of ourselves, the "animal mind" that often operates beneath the surface of our rational thoughts.

Musically, "Dancing the Animal (mind)" is a captivating blend of genres and influences. Spalding's vocals are a highlight, showcasing her impressive range and improvisational skills. She seamlessly transitions from spoken word passages to soaring melodies, her voice acting as a guide through the labyrinth of consciousness. Harmonically, the song is rich and nuanced, with unexpected chord changes and modal shifts that keep the listener engaged and intrigued.

"Dancing the Animal (mind)" is an invitation to explore the depths of our own consciousness, to embrace the animal within, and to recognise the interconnectedness of all living beings. In a world that often prioritises the rational over the intuitive, Spalding's music reminds us of the power of embodied experience, of the wisdom that resides within our bodies and our instincts. Through her unique blend of artistry and scientific inquiry, she opens up new possibilities for music as a tool for healing, transformation, and self-discovery.

Listen to “Dancing the Animal (mind)“

Connie Converse's How Sad, How Lovely captures the delicate dance between beauty and impermanence. Written in the 1950s, the song encapsulates a moment of quiet reflection, where the fading light of a sunset hints at life’s transient nature. With her gentle guitar and understated voice, Converse draws listeners into a deeply introspective space, inviting them to pause and savour fleeting moments that echo with both joy and melancholy.

The title of the song itself is a testament to its central theme — how life’s loveliest moments are often the most ephemeral. Converse’s lyrics:

"How sad, how lovely, how short, how sweet
To see the sunset at the end of the street..."

frame a moment of solitude, observing a city sunset with equal parts wonder and wistfulness. Through this imagery, she juxtaposes the beauty of nature with the inevitability of its passing, reminding us that what makes life sweet is its brevity. The refrain echoes the universality of this experience, resonating with anyone who has found themselves moved by the bittersweetness of a fleeting moment.

Converse’s minimalist musical approach is equally powerful. Her soft guitar accompaniment creates a serene atmosphere, allowing the lyrics to take centre stage. The simplicity of the arrangement — Converse’s gentle strumming and quiet vocals — mirrors the quiet simplicity of her lyrical reflections. As night falls and city lights flicker awake, Converse’s music creates a world where time seems to slow, and the listener is invited to reflect deeply on life’s passing moments.

In many ways, How Sad, How Lovely mirrors the arc of Connie Converse’s own life. Born in New Hampshire in 1924, she was an enigmatic figure in American music. She spent much of her life writing songs in isolation, never finding an audience during her active years. Her recordings, made privately in her kitchen, were largely unheard until decades later when they were rediscovered. In 1974, disillusioned and disappointed, Converse left her home in Ann Arbor, Michigan, never to be seen again. Her disappearance remains one of the great mysteries in music history.

Converse’s work, though unrecognised in her time, has since gained cult status for its forward-thinking approach. Her songs, including How Sad, How Lovely, bridge the gap between traditional folk music and the singer-songwriter movement that would come decades later. Converse’s music was raw, personal, and ahead of its time, filled with themes of loneliness, loss, and the quiet beauty of the everyday.

What makes How Sad, How Lovely so enduring is its honest portrayal of life’s dualities — the beauty that can be found in sadness, the joy in fleeting moments. In today’s fast-paced world, where moments of quiet contemplation are rare, Converse’s music offers a chance to slow down and reflect. Her songs are a reminder that even in the face of impermanence, there is beauty to be found.

Listen to How Sad, How Lovely

Errollyn Wallen is a Belizean-British composer whose work defies conventional boundaries, blending classical, jazz, and Caribbean influences into a rich and eclectic musical mosaic. Wallen recently made headlines as the first Black woman to be appointed as the King's Master of Music. Her career reflects her innovative spirit.

Wallen's 1998 composition "What's Up Doc?" from her album Meet Me at Harold Moores sums up her distinctive style, merging humour with a genre-bending approach that has become her hallmark.

As the title suggests, "What's Up Doc?" playfully nods to the iconic Bugs Bunny catchphrase. The piece is filled with a lighthearted energy, reflecting Wallen's ability to infuse her music with a sense of fun and spontaneity. It’s a delightful reminder that classical music can be both serious and playful, a space where creativity knows no bounds.

"What's Up Doc?" seamlessly blends elements of classical music with jazz improvisation and Caribbean rhythms, creating a soundscape that is both familiar and refreshingly original. This genre-crossing approach allows Wallen to craft music that defies easy categorisation, engaging listeners with its vibrant and dynamic character.

Errolyn Wallen’s own vocals add a rich layer to the composition. Her voice moves effortlessly between playful and soulful tones, showcasing her versatility as both composer and performer. The vocal delivery in "What's Up Doc?" complements the piece’s energetic instrumentation, making it a standout track in her discography.

Meet Me at Harold Moores, the album that features "What's Up Doc?", marked a significant point in Wallen’s career. It solidified her reputation as a composer unafraid to challenge the status quo, creating works that are both accessible and intellectually stimulating. The album, like much of Wallen’s work, reflects her cultural heritage and personal experiences, resulting in a body of music that is deeply resonant and richly diverse.

Wallen’s recent appointment as the King’s Master of Music highlights her trailblazing role in the music world. As the first Black woman to hold this prestigious position, Wallen continues to break barriers, inspiring a new generation of musicians with her innovative compositions and fearless approach to music-making.

Listen to "What's Up Doc?"

Caroline Shaw, a Pulitzer Prize-winning composer, vocalist, and violinist, has made significant contributions to the world of contemporary classical music. Her composition Entr’acte, originally written for string quartet in 2011 and later adapted for string orchestra in 2014, is an evocative piece that captures the essence of a string ensemble's ability to explore and redefine musical boundaries.

Born in 1982 in North Carolina, Caroline Shaw began her musical journey at a young age, learning the violin and later studying composition at Rice University and Yale University. In 2013, she became the youngest recipient of the Pulitzer Prize for Music for her composition Partita for 8 Voices. Shaw’s diverse musical background, which includes singing with the Grammy-winning ensemble Roomful of Teeth and collaborating with artists like Kanye West and Nas, has influenced her unique compositional style, which is evident in Entr’acte.

Shaw found inspiration for Entr’acte after hearing a performance of a Haydn string quartet. She writes: “Entr’acte was composed in 2011 after hearing the Brentano Quartet play Haydn's Op. 77, No. 2 in F major — with its spare and soulful shift to an unexpected key for the central trio in the minuet. Entr’acte is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle transition.” This concept of an unexpected and transformative shift permeates Entr’acte, guiding listeners through a series of surprising musical passages.

The opening of Entr’acte has a mist-like quality, characterised by broken phrases and delicate dynamics. The ethereal beginning features soft, sustained notes in the upper registers of the instruments, punctuated by brief, almost hesitant gestures. This creates a sense of anticipation and sets the stage for the intricate transitions that follow.

One of the most striking features of Entr’acte is its series of complex transitions. These passages are marked by sudden changes in rhythm, dynamics, and texture, creating a sense of unpredictability. Shaw expertly navigates these shifts, maintaining a cohesive musical narrative while keeping the listener engaged and intrigued. The transitions often feature extended techniques, such as breathy bow sounds and plucked pizzicato strings, which add to the piece's unique texture and demonstrate the composer's innovative approach to string writing.

In the second section, the piece bursts forth with exuberance, as Shaw instructs the musicians to play “like granite.” This creates a sturdy foundation from which playful pizzicato passages emerge, showcasing the composer's ability to juxtapose contrasting elements. The use of unconventional time signatures, such as 5/8, 7/8 and 11/8, adds to the piece’s complexity and charm, challenging the performers and captivating the audience.

As Entr’acte progresses, Shaw brings back the opening theme, leading into a breathtaking final transition. The violins and viola spiral upwards, their notes becoming increasingly frenetic and dissonant, creating a sense of tension and urgency. Meanwhile, the cello grounds the piece with a sequence of long, rolling chords, providing a foundation for the other instruments’ ascent. This climactic moment showcases Shaw’s skill in building and releasing tension, leaving the listener both exhilarated and contemplative.

Caroline Shaw’s Entr’acte is a testament to her unique voice and creative vision, which have made a significant impact on contemporary classical music. By seamlessly blending familiar elements with innovative techniques, Shaw has created a piece that stands out in the contemporary chamber music repertoire. Through its innovative structure, emotional depth, and technical brilliance, Entr’acte has solidified its place as a modern masterpiece and a defining work in Caroline Shaw’s impressive oeuvre.

Listen to Entr’acte

In the dynamic world of jazz, the quiet elegance of Dorothy Ashby created a unique niche. As America's first great jazz harpist, Ms Ashby brought a novel sound to jazz, demonstrating the harp's versatility and potential in improvisation.

Born Dorothy Jeanne Thompson in 1930, Dorothy Ashby fell in love with the harp during her time at Cass Technical High School in Detroit, a city renowned for its rich musical heritage. Despite significant obstacles, including racial and gender discrimination, she persevered. By her mid-20s, Ms Ashby had become a fixture in Detroit’s jazz scene, forming a trio with her husband, John Ashby, on drums. Together, they challenged the norms of the time and showcased the harp’s potential in jazz.

Dorothy Ashby's second album, Hip Harp (1958), featured the composition "Pawky," a standout piece that epitomises her innovative approach. The term "pawky" means shrewd or cunning, reflecting the playful and sharp musical exchanges within the track. On "Pawky," Ms Ashby's harp adopts a guitar-like quality, seamlessly blending with Frank Wess’s flute and the rhythm section, creating a light, frolicsome atmosphere that is both engaging and sophisticated. Ms Ashby’s first three albums with Frank Wess, including Hip Harp, established her as a straight-ahead jazz artist. These albums featured her own compositions and popular standards, and showcased her agility in bebop and her sensitivity in communicating across an ensemble. The unique timbre of the harp set her apart, extending the small-group swing sound that emerged in New York in the late 1940s, but with harp in place of piano.

"Pawky" demonstrates Dorothy Ashby’s ability to navigate the technical challenges of the harp in a jazz setting. Harps, with their reliance on pedals to produce sharps and flats and the long sustain of their notes, pose significant obstacles for the quick key and melody changes required in jazz. Dorothy Ashby’s mastery of these challenges is evident in her fluid and inventive playing on this track.

Ms Ashby's journey was fraught with challenges. Many nightclubs refused to audition her simply because audiences were not interested in a Black woman playing the harp. Despite these hurdles, she established herself as a formidable presence in jazz, earning critical acclaim, and changing perceptions about the harp’s role in the genre. Ms Ashby died in 1986 at the relatively young age of 53, leaving behind a legacy of a dozen albums as a leader, as well as countless appearances on albums, films and television shows.

Despite her achievements, Ms Ashby’s work fell into obscurity after her death. However, her legacy has seen a resurgence. Her music has been sampled by hip-hop artists like J Dilla and Swizz Beatz, and contemporary harpists such as Brandee Younger have dedicated albums to her. The recent release of With Strings Attached, a boxed set of her first six albums, further cements Ms Ashby’s place in jazz history.

Dorothy Ashby’s contributions to jazz and the harp were groundbreaking, blending the delicate sounds of her instrument with the robust rhythms and improvisations of jazz. "Pawky" remains a testament to her ingenuity and skill, capturing the playful yet sophisticated essence of her music. As her work continues to gain recognition, Ms Ashby's story inspires new generations of musicians to push the boundaries of their art and explore new sounds.

Listen to Pawky

This month, we invite you to discover the mesmerising soundscape of "For Caitlyn," a captivating piece from Madeleine Antoine's debut solo album, Sol. The album is a sonic journey that seamlessly blends ambient, experimental, folk, and classical elements. ”For Caitlyn" was commissioned by Medieval historian C Davidson during the Covid-19 lockdown.

For our upcoming concert, Solace in the City, Madeleine has generously arranged "For Caitlyn" specifically for string quartet and soprano, promising a truly unique and evocative performance by Mirabilis Collective.

Madeleine, a classical and contemporary violinist based in Boorloo (Perth), has crafted "For Caitlyn" with a unique blend of influences. The first section draws inspiration from Celtic folk music, while the second part pays homage to Hildegard von Bingen, a pioneering female composer from the Medieval era. The piece begins with a simple, monophonic chant line, gradually building into a rich and complex cacophony.

In Madeleine's own words, music is a powerful tool for processing emotions, facilitating ceremony and healing, and even sparking social change. She believes that music is an intentional art form, created with love and respect for the audience, fostering a shared experience of beauty and belonging.

Madeleine's remarkable musical journey began at the tender age of six, and her dedication and talent quickly earned her recognition. She was awarded a music scholarship at Methodist Ladies College and went on to graduate with honours from the WA Academy of Performing Arts. Her career has seen her performing with renowned orchestras and artists, as well as creating original music with her bands Selfless Orchestra and Baba! Yaga!, and as a solo artist.

A passionate advocate for social justice and environmental causes, Madeleine Antoine embodies the spirit of Mirabilis Collective's mission to create a more harmonious world through music.

Sol is available now on vinyl and as an electronic download via Stock Records. 

https://stockrecordsperth.bandcamp.com/album/sol

Listen to “For Caitlyn”

Valerie Coleman, celebrated composer, flautist, and founding member of the groundbreaking Imani Winds, has transformed the landscape of wind quintet repertoire. Her compositions, such as the vibrant Red Clay & Mississippi Delta, draw deep inspiration from her Southern heritage and the soulful blues traditions of the region.

Coleman's musical journey began in Louisville, Kentucky. After distinguished studies in performance, she embarked on a career that would see her excel as a performer and emerge as a significant voice in composition. Her achievements are numerous: she was named Performance Today's 2020 Classical Woman of the year and listed as "one of the Top 35 Women Composers" in the Washington Post. In 2019, her orchestral work, Umoja, Anthem for Unity, marked a historic moment - the first classical work by a living African American woman to be commissioned and premiered by the Philadelphia Orchestra.

In 1997, Coleman co-founded Imani Winds, a woodwind quintet dedicated to expanding the repertoire and breaking down barriers for musicians of colour in classical music. Their commitment to commissioning new works and exploring diverse musical styles has earned them widespread acclaim, including a Grammy Award.

Red Clay & Mississippi Delta is a testament to both Coleman's profound personal connection to the South and her influence on the Imani Winds sound. In this piece, she paints a vivid sonic portrait of her family's Mississippi Delta roots: the juke joints, the river life, and even the distinctive red hue of the soil. Coleman blends virtuosic improvisatory clarinet passages with the soulful language of the blues, seamlessly weaving classical technique and Southern charm.

The impact of Coleman's work with Imani Winds extends far beyond a single composition. Their dedication to new music has revitalised the wind quintet genre, inspiring other composers and bringing fresh perspectives to the classical stage. Coleman's compositions, in particular, offer a powerful exploration of cultural identity and the limitless potential of blending musical traditions.

Listen to Red Clay and Mississippi Delta

Rebekah Reid is reimagining the role of the violin in contemporary music, merging classical virtuosity with groundbreaking electronic looping and effects. Her innovative debut album, Selected Works Vol. 1, commissioned for the BBC series 28ish Days Later, ventures into uncharted musical territories, weaving complex soundscapes from the simplicity of violin strings. This collection of tracks delves into the menstrual cycle's intricacies, mirroring its cyclical nature with looping and layering techniques that echo the repetitive yet evolving patterns of life itself.

Selected Works Vol. 1 is an auditory journey through the menstrual cycle, with each piece capturing the essence of specific emotions, hormones, and moments. Rebekah Reid chose chamber music as the overarching genre for the album, aligning with the series' intimate and private themes. Focusing exclusively on the violin, Reid explores new compositional methods, from emulating a traditional string quartet to blending the violin with unexpected elements like the Moog One analogue synth in “Into the Deep”.

Reid's creative process is a testament to her adaptability and innovation. Transitioning from live looping and improvisation to studio production, she employed a variety of techniques to mix strings, using automation, delay FX, and plugins. The result is a soundtrack that acts as a sonic backdrop to the powerful and sometimes painful topics explored in the series, offering listeners a space to empathise and connect.

The album stands out for its thematic boldness and artistic freedom, allowing Reid to interpret various themes musically in her unique way. From the gentle hums of "A Soft Space" to the rhythmic complexity achieved through delay effects in "What Life Gifts," Reid showcases her ability to blend classical and jazz harmonies, creating a rich, immersive experience.

In crafting Selected Works Vol. 1, Rebekah Reid not only challenges the conventional boundaries of violin music but also contributes to a larger conversation about the menstrual cycle, using her art as a tool for education and awareness. This album exemplifies the power of music to explore, heal, and inspire, marking a significant milestone in Reid's career as a boundary-pushing musician and composer.

Listen to “Into the Deep”

There are songs that pierce your soul, and then there are the ones that offer a balm when the wound feels too raw. Angie McMahon's "Making It Through," from her aptly titled album Light, Dark, Light Again, is the latter. With a voice as hauntingly beautiful as it is vulnerable, McMahon delves into personal darkness and the struggle to find light at the end.

The opening lines set the tone: "Morning, I woke up with the view of the moon / To untangle my shoulders, a sleepy balloon". An unexpected image, yet instantly relatable. The sense of disorientation is palpable, the world out of sync with one's inner turmoil. Yet, from here, the song becomes about defiance. The repeated refrain "I'm making it through" transforms from a plea to a statement of fact.

This isn't about saccharine optimism. McMahon acknowledges the ache, and that loss irrevocably changes us. The instrumentation mirrors this. Understated piano and synths create a sonic space as intimate as it is vast – a perfect cradle for McMahon's raw honesty. As the drums build towards the latter half, there's a sense of emerging strength, but the scars remain visible.

The brilliance of "Making It Through" lies in its refusal to offer easy answers. It celebrates survival not as a destination, but as a cyclical journey, mirroring nature's patterns. McMahon taps into the primal power of endurance: "When I grow up, I wanna be like a tree / And change with the seasons, helping people breathe".

Angie McMahon is a poet, and it shines through. Lines like "Out of ash and destruction / The ground will grow things” resonate far beyond personal loss. This is music for anyone facing rebuilding within themselves.

Whether darkness feels all-consuming, or you simply yearn for a glimpse of the light ahead, "Making It Through" is a companion. The song's ending, a series of "light, dark, light again" becomes a mantra against despair. It's a kind of song you revisit, finding new layers of meaning with each listen – both in McMahon's artistry and the enduring power of music to heal.

Listen to “Making It Through”

In just 90 seconds, Valerie Capers, a pioneering Bronx-born jazz pianist and composer, crafts a solo piano narrative that captures the spirit of jazz in "Billie's Song" from her Portraits of Jazz collection.

Valerie Capers' path in music is nothing short of inspirational. Despite losing her sight at a young age, she emerged as the first blind graduate from the prestigious Juilliard School of Music, setting the stage for a remarkable career. As both a performer and educator, Valerie Capers has demonstrated unwavering dedication to her craft, performing with her trio into her eighties. Her story is a testament to overcoming adversity, showcasing her exceptional talent and resilience.

"Billie's Song" is a musical homage to Billie Holiday, exploring the depth of emotion and narrative through Capers' composition. African American women music historian and editor of Portraits of Jazz, Helen Walker-Hill prefaces that “Billie's Song” is “a pretty ballad dedicated in fondest memory to the great lady of song, Billie Holiday. Lady Day, as she was called, had a special warmth and intensity about her style. Her singing represented an unforgettable experience, perhaps because of so, much sadness and tragedy in her personal life.” Valerie Capers' ability to convey profound emotion within the compact framework of this piece is a hallmark of her musical genius.

In addition to its rich historical and emotional depth, Portraits of Jazz by Valerie Capers presents an accessible treasure for intermediate pianists. Each piece, including “Billie's Song,” is crafted with approachability in mind, allowing developing pianists to explore the complexities of jazz with confidence. This collection not only enhances technical and expressive skills but also bridges the gap to advanced jazz repertoire, making it a valuable resource for those looking to explore the genre's breadth and depth. Portraits of Jazz invites intermediate pianists on a journey through jazz history, guided by Valerie Capers' masterful compositions.

Listen to “Billie’s Song”

Rose Parker's latest single, "Blood on the Water," is a standout track that has quickly captured attention in the music world. Fresh from her victory at the Australian Songwriters Association Awards, the Fremantle-based artist released this powerful song in October 2023. Opening with her distinctive alto vocals, the track skillfully blends dark synths with layered guitars, creating an atmosphere that's both intense and captivating. "Blood on the Water" is a statement about finding your place in the world and appreciating those who support you through life's highs and lows.

Rose Parker's lyrics in "Blood on the Water" are grounded in personal experiences and insights. She shares a lesson from her father – the impossibility of pleasing everyone – and how this realisation influenced her approach to life and music. The song is a testament to learning when to walk away, to leave behind unnecessary drama, and to trust one's instincts. It's about recognising that not every battle is yours to fight and that sometimes, the bravest thing you can do is to choose your battles wisely.

Produced with Lee Buddle’s keen ear for detail at Crank Recording Studio and co-produced by Rose Parker and David Hyams, "Blood on the Water" is a preview of what to expect from Parker's upcoming album, "Beauty and the Ashes." The song's recent accolade in the Rock Indie category at the Australian Songwriters Association Awards is a nod to Rose Parker's songwriting skills, which have been honed over a career spanning decades.

Rose Parker's musical journey is marked by resilience and authenticity. Her story, from finding solace in music during her childhood in orphanages and foster homes to becoming a celebrated figure in the Australian music scene, is a powerful narrative of perseverance and the transformative power of music. Her upcoming album, "Beauty and the Ashes," promises to be a collection of heartfelt, soulful songs that continue to tell her story and resonate with listeners across Australia and beyond. As "Blood on the Water" already shows, Rose Parker's music is not just about sound; it's about storytelling, emotion, and the indomitable spirit of the human heart.

Listen to “Blood on the Water”

The Miseducation of Lauryn Hill, the seminal album by American singer and rapper Lauryn Hill still feels as relevant as ever. Released on August 25, 1998, this album is not only Hill's solo debut but a groundbreaking work in the landscape of hip hop and neo soul.

After touring with the Fugees, Lauryn Hill's personal experiences, particularly her pregnancy, spurred the creation of this album. It was recorded mainly at Tuff Gong Studios in Kingston, with Hill collaborating closely with the musician group New Ark. The album's lyrics reflect themes of love, God, and the complexities of her life at the time, including her experiences with the Fugees.

Upon its release, The Miseducation of Lauryn Hill was a commercial and critical success, debuting at number one on the Billboard 200 chart. It broke records for first-week sales by a female artist and won five Grammy Awards, setting a new standard for women in the industry. The album's artistic range and exploration of a woman's perspective on life and love were widely praised.

This album has since been recognised as a trailblazer in multiple music genres. According to Billboard, it taught a generation the power of expressing personal truths through song, introducing emotional depth to hip hop. It paved the way for neo soul artists like Alicia Keys, Erykah Badu, and Jill Scott, essentially giving birth to the genre.

The Guardian described the album as “a high-water mark of the conscious hip-hop movement and a game-changer that provided valuable lessons for a generation of young women, both black and white.” It was a precursor to albums like Beyoncé's "Lemonade" and Janelle Monáe's "Dirty Computer," offering self-determination, self-respect, and self-knowledge.

The song “The Miseducation of Lauryn Hill” itself stands out for its poignant yet compassionate honesty. Lauryn Hill reflects over sparse beats on lessons learned from youthful missteps and hard-won triumphs. Reggae-inspired melodies carry her resonant voice and message: that through inner work and self-reconciliation we can awaken our highest purpose.

The Miseducation of Lauryn Hill stands as a testament to Lauryn Hill's extraordinary songwriting and rapping skills. Its influence extends beyond hip hop, inspiring a range of artists from different genres. The album's combination of hip hop, neo soul, and a deeply personal narrative made it a defining work of its time and a cornerstone in modern music history.

Its honest portrayal of love, heartbreak, and personal struggle resonates deeply with audiences even today, making it a timeless masterpiece—25 years later, there is still much to learn from Lauryn Hill’s “miseducation”.

Listen to "The Miseducation of Lauryn Hill"

Sarah Kirkland Snider wrote her song cycle PENELOPE in 2007 inspired by Homer's Odyssey. It dives into ideas of homecoming, memory, and who we are.

One standout piece is “Circe and the Hanged Man”. Here, Sarah Kirkland Snider blends classical and folk sounds. With rhythmic strings, percussion, and Shara Worden's touching vocals, the music tells the story of Circe meeting a lost soul from Odysseus’s crew. The tune feels like a blend of old tales, indie folk, and modern rhythm.

This mix of old and new sounds is what we love at Mirabilis Collective. Like Sarah Kirkland Snider, we enjoy blending different musical worlds. She uses traditional instruments like the harp and strings, and brings in modern vibes with electronics and drums. It’s a fresh way to experience stories through music.

What's more, Sarah Kirkland Snider brings female characters from myths into the spotlight. In “Circe and the Hanged Man”, we see a side of Circe that often gets missed. This focus on women's stories is close to our hearts at Mirabilis Collective.

Sarah Kirkland Snider shows us how music can tell age-old tales in a new light. Her work in PENELOPE, especially “Circe and the Hanged Man”, is a beautiful example of how music can cross between times and styles while touching our hearts.

Sarah Kirkland Snider recently shared more about her musical adventures on the Compose Like a Girl podcast. She dives into her creative process, the stories behind her music, and much more. It's a chance to hear straight from Snider about what drives her unique sound. We're thrilled about this sharing of musical insights and the beautiful community of female composers and musicians coming together. Give it a listen, and step further into the rich world of storytelling through music.

Listen to the Podcast

Listen to “Circe and the Hanged Man”

Fatoumata Diawara is a singer who is a testament to resilience, artistry, and cultural exchange. With a potent mix of traditional Malian music and contemporary sounds, she offers a rich tapestry that speaks to listeners worldwide. The title track of her 2018 album, Fenfo, which means "Something to Say," serves as a fitting representation of her musical and thematic range.

Fatoumata Diawara was born in Ivory Coast to Malian parents. Her life journey has been marked by both struggle and triumph, from a challenging childhood to being sent to live with an aunt in Bamako and later joining a traveling circus to escape an arranged marriage. These formative experiences fuelled her drive and creativity. Fatoumata Diawara eventually settled in Paris, launching her artistic career both in music and acting. Her debut album Fatou, released in 2011, received widespread acclaim, setting her apart as a rising star in world music.

This album showcases Fatoumata Diawara's musical versatility and her voice is mature and expressive. Collaborating with the likes of kora player Sidiki Diabaté and cellist Vincent Ségal, she touches upon various styles from Afro-pop and blues to funk. The lyrics are mostly in Bambara, with sporadic bursts of English, making the album accessible yet rooted in its cultural heritage. They cover a broad range of topics from migration and African identity to the importance of recognising the value of inter-ethnic marriages

The title track, “Fenfo”, serves as a focal point, encapsulating the album's thematic richness and musical diversity. The song’s rhythmic ebb and flow set the stage for Fatoumata Diawara's soulful vocals. Sung primarily in Bambara, the song serves as a powerful vocalisation of her life experiences, views on cultural unity, and social commentary.

Listen to “Fenfo”

Rachel Bruerville, an Australian composer, cellist, singer, and writer, has made significant contributions to the music world. From her home in Adelaide, Rachel composes for concert halls, theatres, and collaborative projects. With notable engagements like being Young Adelaide Voices' Composer in Residence and receiving commissions from organisations such as the Adelaide Symphony Orchestra, Rachel's work resonates globally.

Her piece, “Dancing on Tiptoes”, commissioned by the Hush Foundation, embodies a sense of calm and optimism. Inspired by a quote from a young person at Adelaide's Women's and Children's Hospital, it's a dance in fluctuating, so-called "irregular" time signatures, described as "happy and sunny." Part of the Hush 18 "Collective Wisdom" album, this composition aims to reduce stress in children's hospital environments and challenge the stigma surrounding mental illness.

Listen to “Dancing on Tiptoes”