You can buy the albums of the New Albion world on Bandcamp right here: https://mochalab.bandcamp.com
or iTunes: https://itunes.apple.com/us/artist/paul-shapera/555451071
Amazon: https://www.amazon.com/s?k=Paul+Shapera&i=digital-music&search-type=ss&ref=ntt_srch_drd_B0016SR12U
Google Play: https://play.google.com/store/music/artist?id=A5tlwo5mstjqg5u4ysdsijecmbm
and many others.
Thank you for actually purchasing it in this day and age of easy downloading. It literally does me and my family and allows me to create more works like these.
Let's connect! Here is where you can find me:
I would really like to get this album on CD rather than just streaming it. Call me old fashioned, I was born before Sputnik went up. Love what I have heard so far!
is it available on CD? That would be wonderful (and a vinyl record too!)
I would really like to get this album on CD rather than just streaming it. Call me old fashioned, I was born before Sputnik went up. Love what I have heard so far!
is it available on CD? That would be wonderful (and a vinyl record too!)
Is it possible to buy the song new Albion 1 (Annabel raises the dead) with no words, just as an instrumental?
I’d also love to buy the lyrics
Thanks!
Is it possible to buy the song new Albion 1 (Annabel raises the dead) with no words, just as an instrumental?
I’d also love to buy the lyrics
Thanks!
I am in awe of the power of this work. Daring bold imagery, vocals that make you want to cry, and a truly harrowing and touching story.
Great work, looking forward to the sequel. Please let me produce the film version! Lol.
I am in awe of the power of this work. Daring bold imagery, vocals that make you want to cry, and a truly harrowing and touching story.
Great work, looking forward to the sequel. Please let me produce the film version! Lol.
Feedback from The Brigadier {the chap in full Steampunk Gentleman Explorer outfit in the front row on Thursday}.
Well done all on putting on a splendid show under what any professional {or am dram} company would agree were jolly difficult circumstances: small venue, limited budgets, short rehearsal period, etc. Bloody impressive!
One has taken the liberty of popping forward in Time, and you do, indeed, take this project further. Now all you have to do is make sure that timeline comes to be. One is unfortunately strictly forbidden from telling you how, exactly {Blinovitch Limitation Principals, Butterfly Effect, and all that – I’ve already said too much}.
That said, here are a few ideas:
1) THE DOLLY.
One thing that might be quite nice, is for the dolly to be made up of ‘bits and bobs’, which initially just look like junk, UNTIL they are put together during that song (rather than being built, but for the right knob being attached). An old fashioned wireless for the abdomen, a hinged metre rule or similar for the arms, a Victorian Phrenology bust for the head, &c. which BECOME the automaton as she puts them together. The audience would find this reveal far more satisfying.
There was one point where the dolly was placed on a stool in front of the gauze curtain, and I half-expected it to ‘come to life’ there, by itself, without a visible puppeteer.
Both of these ideas, in turn, called to mind a trick I once saw Alice Cooper perform during his Welcome To My Nightmare show, where, during one song, he began to build a Frankenstein’s Monster from disparate bits of junk which had hitherto littered the stage – legs, a torso, arms, then, finally, a head all seen scavenged, and assembled. Then, a flash of lightening, and the whole thing stands and walks! At no point did the audience spot the puppeteer/operator slip into the monster costume, the effect being one of surprise and awe. Food for thought.
2) THE DOLLY’S VOICE.
I personally found it off-putting to see the singer voicing the dolly, Mike I believe, on stage alongside the dolly, at the same time. It’s somewhat disconcerting to an audience member to be called upon to look at an inanimate object while the artist is there to draw one’s attention – it feels rude. Might I suggest that he either remains unseen, his voice coming through the dolly’s speaker consistently; or, if that is a problem, he appears in ghostly aspect, so that the audience make the necessary connection, and appears to return to the dolly once his solo is finished?
3) THE GENERATIONS
As discussed on the day, the idea of the passage of Time from generation to generation could better be expressed through the use of distinct period costumes – Dickensian, Victorian, Edwardian, and Fascist – for the various ages you visit. The fashions would be distinct enough for both ladies AND gents, although the latter could also benefit from period facial hair.
With a limited cast, keeping the cast members true to the family line would make things clearer for the audience. Mad Anabel’s daughter/granddaughter/great granddaughter being played by Lauren, for example – rather than jumping back and forth. Following one direct familial line would also help build up the story along a ‘saga’ line.
4) THE SONGS
Though I didn’t necessarily feel it myself, there were comments about some of the songs being ‘too long’ and ‘repetitive’. Were they to be shortened a little, each of the four acts could then have more material added to add further detail and colour, and answer that other comment about investiture of emotion in the characters. Perhaps even a longer show in total, with an interval, could be had. The songs of the Narrator, Kate, could perhaps benefit from this by being slowed down ever-so-slightly, to ensure such important information is absorbed (though this wasn’t really a problem, so much as a caution.)
5) VOODOO
Voodoo isn’t particularly Steampunk, which tends more towards science than the superstitious. However, there IS scope for things of a rum and eldritch nature, with typically Victorian Gothic motifs, Spiritulaism, and Lovecraftian elements. Voodoo is a useful rhyme though. Having gone with that thought, perhaps your Voodoo dancer could ’emerge’ from the gauze backdrop as Baron Samedi summoned from the other side [http://en.wikipedia.org/wiki/Baron_Samedi] and make more of his appearance and significance?
6) CORRUPTION AND REDEMPTION
The whole business of the character who is a Voodoopunk, then becomes Soldier 7285 is a little confusing, more so given the same cast member has previously played other parts. Is he a turncoat, or an entirely new character? Either way, some of the intended power of the final scenes was diluted by the confusion, and good be clarified and strengthed. MORE should be made of WHY he turned to the Fascist Militia (perhaps brainwashing?) and MORE made of his internal dilemma when he is called upon to shoot the dolly and the girl (is it Priscilla at that point?). Andi suggested that 7285 raises his gun, but rather than simply not shooting, drops it, and the OTHER soldier (Jorge) raises HIS gun to Soldier 7285’s head – forcing him at gun-point to pick it up and continue to obey orders and shoot the dolly himself, then upping the anti and maintaining the shock value by callously shooting the girl himself. As it was done in the show, it just looked like the other guard grew impatient at his delay, and therefore was in danger of being seen as funny. More emotion, internal conflict, could be expressed from Oliver’s part, before song 24 I Will Bring You Down. Not a criticism of Oliver’s acting, but more a suggestion for more from the writing to foreshadow and support that song.
7) FUNDING ALL THIS DEVELOPMENT
Steampunks are notoriously supportive of each other’s projects. Try posting something about your opera on the various Steampunk groups on Facebook, directing them to a ‘Kickstarter’ project, and you’ll soon raise funds. The film Iron Sky was entirely funded by Kickstarter contributions, and other projects has similarly been given life. [http://www.steampunk.com/six-steampunk-kickstarters-you-funded-in-november/]
Merchandising. Print-on-demand is the friend of the small, niche market publisher. You only produce what has been ordered, and keep approx 75% of the cover price (as opposed to the 9% you’d get through an old-school publishing house). You could quite easily produce a hard-back book of the novelised story of New Albion, with illustrations, libretto, and a pocket on the inside back cover containing a CD, and sell it for, what, £10-£20 per unit? And you wouldn’t have to pay for anything up front without having pre-orders in place with which to pay for said printing. Pure profit. Kindle and downloadable versions is one thing, to one market, but prices for these downloads are necessarily lower. And Steampunks like REAL books, tangible, collectible, and people WOULD buy such hard-copies. Why not cover BOTH? Worth a little market research, anyway.
I hope I’ve helped in some small way.
Feedback from The Brigadier {the chap in full Steampunk Gentleman Explorer outfit in the front row on Thursday}.
Well done all on putting on a splendid show under what any professional {or am dram} company would agree were jolly difficult circumstances: small venue, limited budgets, short rehearsal period, etc. Bloody impressive!
One has taken the liberty of popping forward in Time, and you do, indeed, take this project further. Now all you have to do is make sure that timeline comes to be. One is unfortunately strictly forbidden from telling you how, exactly {Blinovitch Limitation Principals, Butterfly Effect, and all that – I’ve already said too much}.
That said, here are a few ideas:
1) THE DOLLY.
One thing that might be quite nice, is for the dolly to be made up of ‘bits and bobs’, which initially just look like junk, UNTIL they are put together during that song (rather than being built, but for the right knob being attached). An old fashioned wireless for the abdomen, a hinged metre rule or similar for the arms, a Victorian Phrenology bust for the head, &c. which BECOME the automaton as she puts them together. The audience would find this reveal far more satisfying.
There was one point where the dolly was placed on a stool in front of the gauze curtain, and I half-expected it to ‘come to life’ there, by itself, without a visible puppeteer.
Both of these ideas, in turn, called to mind a trick I once saw Alice Cooper perform during his Welcome To My Nightmare show, where, during one song, he began to build a Frankenstein’s Monster from disparate bits of junk which had hitherto littered the stage – legs, a torso, arms, then, finally, a head all seen scavenged, and assembled. Then, a flash of lightening, and the whole thing stands and walks! At no point did the audience spot the puppeteer/operator slip into the monster costume, the effect being one of surprise and awe. Food for thought.
2) THE DOLLY’S VOICE.
I personally found it off-putting to see the singer voicing the dolly, Mike I believe, on stage alongside the dolly, at the same time. It’s somewhat disconcerting to an audience member to be called upon to look at an inanimate object while the artist is there to draw one’s attention – it feels rude. Might I suggest that he either remains unseen, his voice coming through the dolly’s speaker consistently; or, if that is a problem, he appears in ghostly aspect, so that the audience make the necessary connection, and appears to return to the dolly once his solo is finished?
3) THE GENERATIONS
As discussed on the day, the idea of the passage of Time from generation to generation could better be expressed through the use of distinct period costumes – Dickensian, Victorian, Edwardian, and Fascist – for the various ages you visit. The fashions would be distinct enough for both ladies AND gents, although the latter could also benefit from period facial hair.
With a limited cast, keeping the cast members true to the family line would make things clearer for the audience. Mad Anabel’s daughter/granddaughter/great granddaughter being played by Lauren, for example – rather than jumping back and forth. Following one direct familial line would also help build up the story along a ‘saga’ line.
4) THE SONGS
Though I didn’t necessarily feel it myself, there were comments about some of the songs being ‘too long’ and ‘repetitive’. Were they to be shortened a little, each of the four acts could then have more material added to add further detail and colour, and answer that other comment about investiture of emotion in the characters. Perhaps even a longer show in total, with an interval, could be had. The songs of the Narrator, Kate, could perhaps benefit from this by being slowed down ever-so-slightly, to ensure such important information is absorbed (though this wasn’t really a problem, so much as a caution.)
5) VOODOO
Voodoo isn’t particularly Steampunk, which tends more towards science than the superstitious. However, there IS scope for things of a rum and eldritch nature, with typically Victorian Gothic motifs, Spiritulaism, and Lovecraftian elements. Voodoo is a useful rhyme though. Having gone with that thought, perhaps your Voodoo dancer could ’emerge’ from the gauze backdrop as Baron Samedi summoned from the other side [http://en.wikipedia.org/wiki/Baron_Samedi] and make more of his appearance and significance?
6) CORRUPTION AND REDEMPTION
The whole business of the character who is a Voodoopunk, then becomes Soldier 7285 is a little confusing, more so given the same cast member has previously played other parts. Is he a turncoat, or an entirely new character? Either way, some of the intended power of the final scenes was diluted by the confusion, and good be clarified and strengthed. MORE should be made of WHY he turned to the Fascist Militia (perhaps brainwashing?) and MORE made of his internal dilemma when he is called upon to shoot the dolly and the girl (is it Priscilla at that point?). Andi suggested that 7285 raises his gun, but rather than simply not shooting, drops it, and the OTHER soldier (Jorge) raises HIS gun to Soldier 7285’s head – forcing him at gun-point to pick it up and continue to obey orders and shoot the dolly himself, then upping the anti and maintaining the shock value by callously shooting the girl himself. As it was done in the show, it just looked like the other guard grew impatient at his delay, and therefore was in danger of being seen as funny. More emotion, internal conflict, could be expressed from Oliver’s part, before song 24 I Will Bring You Down. Not a criticism of Oliver’s acting, but more a suggestion for more from the writing to foreshadow and support that song.
7) FUNDING ALL THIS DEVELOPMENT
Steampunks are notoriously supportive of each other’s projects. Try posting something about your opera on the various Steampunk groups on Facebook, directing them to a ‘Kickstarter’ project, and you’ll soon raise funds. The film Iron Sky was entirely funded by Kickstarter contributions, and other projects has similarly been given life. [http://www.steampunk.com/six-steampunk-kickstarters-you-funded-in-november/]
Merchandising. Print-on-demand is the friend of the small, niche market publisher. You only produce what has been ordered, and keep approx 75% of the cover price (as opposed to the 9% you’d get through an old-school publishing house). You could quite easily produce a hard-back book of the novelised story of New Albion, with illustrations, libretto, and a pocket on the inside back cover containing a CD, and sell it for, what, £10-£20 per unit? And you wouldn’t have to pay for anything up front without having pre-orders in place with which to pay for said printing. Pure profit. Kindle and downloadable versions is one thing, to one market, but prices for these downloads are necessarily lower. And Steampunks like REAL books, tangible, collectible, and people WOULD buy such hard-copies. Why not cover BOTH? Worth a little market research, anyway.
I hope I’ve helped in some small way.