Conceived, Written, Directed and Produced by Mark Warford
“Every man is a desert; every woman is a tear
Cry Desert, Cry… life comes alive in your embrace.”
Cry Desert is a magical, mystical symbolic narrative with a purpose-written original soundtrack. The project is being produced to run on three distinct platforms: a live, theatrical experience featuring 360 degree digital projections; as a series of short films interwoven with music video performances for digital distribution (iPhone, iPad, DVD etc); and as a stand-alone album of contemporary music (download, CD, etc.)
The story focuses on the meeting and subsequent dramatic events concerning the artist and journeyman, Miles; the reclusive, headstrong scientist, Ramsey; and the beautiful, mystical Ayita.
Carried around the world for millenia on currents of air and water, the sounds of tears once shed in sorrow, never drying, never dissolving, are eternal reminders of our need for compassion and grace in this world. Earth’s atmosphere remains the guardian of these truths; the cries from the soul that journey in harmony and without prejudice. The mysterious and reclusive Ramsey unlocks the emotive sounds that sought refuge in this invisible, weightless harbor and have, until now, remained silent.
Set against the backdrop of the relentless pace of the modern age, Miles encourages Ramsey to unleash the incredible communicative power of his discovery so it may serve as a positive, sonic awakening to a world lost in a sea of virtual experiences.
The indigenous and mystical healing powers of the enchantress Ayita are called upon as this magical discovery is propelled to the furthest reaches of the atmosphere where she summons a mighty, global storm to deliver a rain so pure, and so gentle, that it falls cloudlike upon every living soul.
At once, every industrial noise on the planet transmutes into an intense, heart-stopping symphony of otherworldly sounds; giving pause to the melee of everyday life and uniting the human race in a single, solitary and powerfully redemptive moment.
From the deserts, to the mountains to the oceans, ‘Cry, Desert’ relays a visual backdrop of the cacophony of war, cultures in transition and the severity of natural world events. The stark, powerful, and sometimes foreboding imagery is contrasted and punctuated with sequences of staggering beauty and optimism as the story unfolds to its dramatic conclusion. On stage, this combination of live music and digital projection will immerse the audience in a visually stimulating, emotional and heartfelt 360 degree experience.
Driving the story musically is a deeply emotive, contemporary soundtrack utilizing complex rhythms interwoven with contemporary rock and orchestral arrangements by Mark Warford. Uniquely, this collection of original songs will feature international artists and will cross many musical genres. In its entirety, the soundtrack will capture and communicate the power of love and its benefit to humanity and the planet we live on.
The original soundtrack will feature a compelling and poetic narration, with a fully-supportive, cinematic sound design, and 16 original works ranging from traditional song formats to orchestral overtures.
Production and development continue throughout 2012.
© 2012 Cry Desert Inc All Rights Reserved
What is the ‘Cry Desert’ project?
‘Cry, Desert’ is an album and stage show that is literally a snapshot of our time. It’s a story of three characters that represent the soul, frustrations and idealism of humanity, all wrapped in a neat 60-minute magical, musical tale. The songs have been written specifically to stand alone as exciting, contemporary works with no supporting explanation from the show, but when played sequentially they compliment the story perfectly - each delivering breath-taking moments that transcend traditional music theatre events.
Has this project been in production for a long time?
Not yet, about two years currently, but then again it’s still being refined. The timeline of a production like this is akin to getting a major motion picture off the ground. With incredible compromise it could be out the door tomorrow, but at a fraction of its potential and as with most industries, we are so dependant on the ‘behind-the-scenes’ business dealings. Some days it races ahead and on others it feels like wading through quicksand. Every step of the process takes so much energy because it’s not a typical ‘entertainment’ venture. We are converging so many different techniques and art forms with our given mandate, that the subsequent recordings and live performance have to work on many different levels. Multiple artists, new material, new arrangements, recording, distribution, film, live events, 3D projections, set design – it all adds up.
There seems to be quite a dynamic approach to the music on the album, was this intentional?
Most definitely. The overall character of the show is built from conflicting emotions and colliding worldviews. Humans are a complex bunch but, as we know, we can be incredibly transparent, so it’s only right that the music should reflect these very human traits. I wish more artists had the courage to explore these dramatic differences instead of locking into what’s selling and losing their edge. Popular music should always be a statement of our time, whether you like it in its current form or not, and that’s largely being ignored in favor of predictive marketing. I can’t remember the last time a song served as a wake up call. If this carries on and we dumb it down any further we could lose our will to inspire and with that comes a lack of ability to entertain and inform. I also want the music to play as a great, cohesive album – yet another art form that is disappearing.
You have been acclaimed internationally for your work on human rights and the environment, has this had an impact on your career in general?
No, not at all, it’s quite intentional. I see it all as being intrinsically linked. I decided many years ago that I wanted to have an informed voice in everything I care about, regardless of its discipline, so if you work backwards from there it all makes sense. In 2009 I was invited to be an ambassador for ‘100 Places’, a climate awareness initiative, along with Bishop Desmund Tutu and Peter Garrett (of ‘Midnight Oil’ and currently an Australian government official) – two individuals that have dealt with similar issues of identity and purpose over the years. But I think if you asked them the same question they’d agree that you’re not defined by your job, you’re defined by your work.
Do you think the worlds of entertainment and activism are as beneficial to each other as the public is led to believe?
Hmmm. Here’s the thing, there’s an extraordinary ambivalence surrounding this subject. In truth, there is a lot to be gained by raising awareness. And let’s be honest, that’s what we’re talking about. The trouble is, awareness, in and of itself is like starting the car and not driving anywhere. Why do it when you’re not committed to following through? The average celebrity doesn’t belong anywhere near the activist community if they’re not prepared to alienate some of their audience, which, in turn, will have untold negative impact on their career. I think it’s hilarious when PR operatives mistake the pulpit of activism as a way to generate profile for an up and coming ‘star’ when in actual fact, if you’re doing it right, you’ll be able to measure their impact by how many people send in hate mail. The very nature of activism means you have taken a position that is probably opposed by half of the population. How do you reconcile that when you’re about to plug your new song or movie or whatever? And everything is marketed with the same techniques, the public is bombarded by so much information that when it comes time to really elevate an issue to save lives or stave off a catastrophe, the earnest power of a message is forced to compete directly with trivial media offerings.
My views on this are really straightforward: somewhere along the way caring became something we do, not what we feel. The eloquence of giving yourself to a cause because you are directly or indirectly affected has been watered down to compiling a checklist of, “what makes me feel good? Poverty is bad, so I’ll click that email link”, which in most cases forwards a letter that has been pre-written for you! “There, that’ll show them!”
I do know for certain that however many people there are in the world taking causes seriously, it’s not nearly enough. Cures and solutions are not coming nearly fast enough given the resources we expend. There’s no revolution in compromise or comfortable disagreement, sometimes you have to get your hands really dirty and give way more than just your opinion.
Does ‘Cry, Desert’ have an activist agenda?
No, far from it. I want to use this production to reintroduce people to the best qualities of humanity and maybe awaken a few sleeping giants along the way. An activist agenda by definition in 2012 is loaded with empty rhetoric played out in front of the media, which, let’s face it, may bolster some fundraising but provides no lasting victory. The issues worthy of real activism are hard and complicated, and oftentimes involve the clash not of right and wrong, but of two rights and so I think they are best tackled believing in the best of humanity, instead of relentlessly attacking the weak points. No.., ‘Cry, Desert’ will succeed as a vehicle for unity, not division.
‘Supermassive Superstar’ has such a distinctive chorus with a very clear message. Can you talk a little about the evolution of that song?
Yeah, sure. I heard the rhythm first. I could feel this relentless driving beat filling my head every time I played those few chords even though originally it was much calmer. Trevor Thornton sat in my little writing room with a bass drum and snare and realized that beat perfectly because he has such a great feel and I was brushing the strings with the side of my thumb and creating more of a soft wash of sound rather than the harder, sounding guitar that ended up on the recording. And the transitions from the verse through the bridge have that slight push on the down beat which, in this case, set up a very strong change into the chorus with just the right amount of breathing room before all hell breaks loose. It’s interesting too that although some people lean on them for a little sadness, there are times when a major seventh chord adds just the right amount of lift or implied optimism in a passage and I find that keeps the song evolving in your mind.
Lyrically I never want to be ‘preachy’, I think art is received best when the audience is left to their own conclusions, finding their own connection and meaning. I just wanted to write a song that conveyed the power of self-reliance and dignity; one that could be universally relevant. I’ve worked with people all over the world that are physically and politically repressed in every aspect of their lives and yet demonstrate impeccable personal values. Of course, there are exceptions everywhere, but the reflection of our cumulative behavior shapes the world and I don’t care who you are, we can all take a harder look in that mirror. I guess that is sounding a little ‘preachy’, but you know what I mean.
Anyway, the song is full of optimism. Musically, the guitars and bass were fun to play with subtle changes in tone on every guitar line – I think I used six different amps on that song, but Vox and Marshall for the most part. The hard part was choosing which fill added to the feel of the song and kept up the pace. Also, I tried many different bass lines and had a few players on it. But in the end I just plugged in an old Precision and just rode over the top of Trevor’s drumming. It’s exactly what the song needed – both busy and melodic.
Would you say ‘Supermassive’ is now a signature sound for you?
No, not really. The show in its entirety is a signature sound, if that makes sense. We’ve striven to paint a soundscape with so much variety and individuality, and because my motivation for this work is not the same as a lot of musicians, I’m not so fixated on ‘me’ so much as ‘it’. I’m not remotely interested in recording and publishing ‘content’, I’m focused on producing a body of work that is hopefully meaningful and relevant beyond somebody’s iTunes playlist. That’s why I don’t sit easily with those that aspire to succeed in the traditional music business. In fact, that ‘business’ is nothing more than a historical reference as I far as I can tell. The public has always been the decider and now they have the ability to control what they hear, which is devastating to mass marketers. So much industry power was subverted as a result of massive indecision over the past decade and has left such a gaping whole in the artist/audience connection. I’m convinced that any ‘new’ music that is to endure will surface from the bottom up rather than the top down.
In fact, the music business is now a poor cousin of the television business – pre-packaged noise, short-term focused and able to be recycled immediately. Which is such a tragedy as I really miss great radio, especially when a new sound was breaking. It used to define the passage of time for all of society and songs would find you, rather than you having to hunt for them. I guess on the up side there is a new business waiting to be built out of this dichotomy of circumstance – a smaller, more networked world equates to having to communicate much broader; more in tune with the global agenda. Here’s hoping musicians start to take the anti-establishment, rock n roll mindset to that level.
Who are your major influences?
That’s an interesting question because I love the idea of pointing to a few musical icons that have steered me over the years, but I can’t. I'm influenced mostly by an individual's achievement rather than their personality, even though there are plenty of musicians I respect for their talent. If I had to name a few people I would say Ernest Shackelton, Neil Armstrong and MLK – individuals that acted with grace and humility in the face of extreme challenge.
Most of the songs have some element of orchestral arrangement. Will you be reproducing that live?
Oh, yeah. The current plan is to have a full orchestra on stage for the entire performance. Along with a traditional line-up of guitars, bass, drums and keys, we’ll have that amazing power of a real symphony playing all of those delicate and thunderous moments. As the show moves around the world we plan to make use of local orchestras to keep the cost down which is great for meeting new folks and listening to their interpretations of the music.
The middle orchestral section of ‘You Win Me’ builds to an incredible crescendo - do you expect to keep this in the live performance?
I really want to bring the sonic power of that repetitive, hypnotic bass line, the free-form drumming, the sounds of nature at its wildest and that sweeping, climbing adagio from the orchestra together on that section. On stage that build up coincides with a visual element that provides the show’s climax, and as I’ve said before, there won’t be a dry eye in the house.
What duties are you giving yourself throughout the recording process – guitar, vocals?
I haven’t decided on that - all of the above, for certain. I’m also feeling more at home playing bass and holding down that side of the arrangement these days. There is something quite satisfying about the bass lines in this collection of songs. They have a distinct personality and seem to compliment the melodies without getting in the way of the voices.
The demo version of ‘Never Gonna Be The Same’ featured Joss Stone on lead vocals, what was it like to work with her?
Yes, I co-wrote it with jazz pianist Niels Lan Doky for another project and am toying with using it for this one. It’s really a strong song when it gets into the chorus and was really interesting to have a traditional, bluesy singer like Joss interpret my lyrics and melodies. She’s an absolute sweetheart. There’s looseness in the delivery that really keeps the song fresh and engaging, so I’m hoping it might make the final cut. There’s another song called, ‘No Matter What You Say’ which is the ‘answer back’ to ‘Never Gonna Be The Same’, that too has a killer chorus. It’s also really important that we maintain a certain level of contemporary relevance in the sound structure otherwise the audience will be asked to work too hard. There’s nothing worse than not having a touchstone when you are creating new material.
Do you plan on inviting more established artists to the project?
Ah, the fifty thousand dollar question! The flip side to that is “Would it serve the project better to have a celebrity line up, or leave the songs to their own devices?” In all honesty, I think we can find a happy medium. The context of the show makes for a easy sell to artists so I think in some weird way the songs will decide who sings them.
What’s the biggest challenge you face?
Clarity. As with the creation of any book, or film or painting, I too want to be moved by the overall result. That doesn’t mean I’ll derive the same meaning from the work as you, but it does mean that we’ll have communicated the sentiment clear enough for others to paint in their own colors. And from that point we will stand by humbly and watch what happens.
'Cry, Desert' is a recorded music and live theatrical production by acclaimed Director and Composer, Mark Warford. The project is being developed utilizing digital projection technology that will immerse audiences in 360 degrees of groundbreaking entertainment.
The visionary production of ‘Cry, Desert’, with its captivating, thought-provoking story, includes a deeply evocative and emotional soundtrack performed by some of the world’s greatest musicians and dramatic artists.
Please direct all MEDIA AND INVESTOR enquiries c/o Cry Desert, Inc.
©2012 Cry Desert, Inc All Rights Reserved