Auracene – Fairy Music Composer

The Musical Compositions of Auracene

Click the hot links to listen to the free music podcasts by Auracene. All work is copyrighted and can only be reproduced with the express written permission of Auracene.




by Elizabeth KIrwin

The following interview with Auracene is the first public interview she has granted. Auracene is fairy music composer who works with voice, cello, and electronic instrumentation. She is an emerging artist on the Asheville music scene and is currently taking her work to Seattle for live performance.

The major draw of Auracene’s music is its invocation of the goddess and the mysteries. Finally, in an age that needs her presence and mystery, a female composer has captured many dimensions of the goddess with voice, electronic and acoustic sound. As we journey through the realm of the goddess, with its unpredictability and sounds that defy categories, we are left to wonder from whence it emerged and for what purpose? I have taken some time to delve deeper into Auracene’s artistic process. In this interview Auracene reveals where her extraordinary musical compositions come from.

Interview with Auracene
Q. Why did you submit these particular musical compositions to Fairies In America?
A. I felt they were a nice representation of the music I do, showing some diversity and some different moods. One piece, BelladonnaSan is thoughtful and moody. It was named after an email used by a good friend of mine.

Q. Let’s talk about BellaDonnaSan. What does this song mean to you?

A. My goal with that piece was to have a piece of music that used sound design and cello. Everything you hear originates from the cello. I wanted all of the sounds to have an organic origin. All of my samples, everything you hear comes from the ground up. I made or generated the sounds in my music. I’m a purist like that. The other purpose of BellaDonnaSan was an exercise in composing motifs, dynamics, and changeover time in a thoughtful way. The listener can hear how the piece changes. I wanted to make something that would change over time and was not stuck in one spot too long and would be interesting for the listener.

Q. BellaDonnaSan is unique, where did it come from?
A. It’s definitely a cold weather piece. It was composed last winter when I was studying and listening to classical music. I was in the studio a lot but I was also going out and breathing cold air. I was absorbing winter in a way that I could really enjoy it and feel it in my bones, instead of the usual combative way — fighting the cold. This time I chose to put myself out in the elements and absorb as much as I could of winter.

Q. It this piece a combination of electronic and acoustic music?
A. Yes. It’s a musical sound design piece. I consider this my specialty: musical sound design. I compose different samples and sounds that change over time, yet they carry a melody through. Sounds can have different shapes. My job is to make them come together smoothly.

Q. Qristelan is an otherworldly piece…the voice work is extraordinary. What inspired this musical composition?
A. It is about escape, transport, and going to a different dimension. This song represents a world of shapes and colors that are completely different than the one we live in. In the song, voice is the only thing that ties the listener to this world. When I’m composing music I always feel like I’m being transported somewhere. My goal is to give my audience the same feeling. If they can experience another dimension or a different world, that’s a good thing. I take a theme in this song and twist it around. This piece actually contains some blaspheme. But the voice work does not contain lyrics so the listener cannot discern words. [It’s my own little secret].

Q. Why do you chose to compose in this way, without singing lyrics?

A. I would rather have the listener have a non-linear experience – they can guess where voice leads. Approaching lyrics in the typical fashion does not inspire me. I can sing in English but I have to twist it into a different sound shape to be satisfied with the result. I decided to take my own handicap and use it to design shapes to sing. I am studying a book on language and sound. There are sounds that are common to many languages. I believe in the power of these sounds.

Q. Is Sanaare the theme for Moon Europa? Can you talk about where this song came from?
A. I just started singing and once I began, the song happened very quickly. The song became a theme for one of the trailers for the Asheville based movie project, Moon Europa. This is the first all vocal piece I’ve done. I’m singing everything. The low notes are my voice transposed. There is a little sound design involved but not much. I wanted to see what I could do with my voice and this piece reveals the possibilities. There are elements of chant and accented sounds. The layering and harmonies are present in the work, and I love to work with harmonies. This is a technique I take from traditional music and use over and over again.

Q. Why did you submit Sanaare to Fairies in America?
A. I feel this piece is very spiritual. I enjoy hearing it. It takes me somewhere. I believe it takes others somewhere as well. I realize that this piece is something from beyond, another world, and I am just a channel. I don’t know who or what is trying to come through but it comes through me a lot. This song feels like a wind of something good that blows your yuck away for a few minutes.

Q. Could you explain Moon Europa, the movie project and its themes.
A. It’s a Sci-Fi story that’s also a dystopia and it’s set in the future. I wish I could have used my voice more for the movie, but I didn’t.

Q. Do you have any closing thoughts about Fairies in America.

A. I certainly know some wonderful fairies in Asheville. I have to say that if this site is going to bring together more of the great fairies I’ve met in Asheville, it’s going to be a good thing. This impresses me as a site where people can be what they really want and need to be. The most politically daring thing you can do is to be yourself. For people in remote areas that don’t have a large community the site will be a way to meet other people and to network, make new friendships, collaborate, even have love affairs. There’s a wonderful beauty and power in the democracy of technology bringing together people who have really chosen to be themselves. Being part of Fairies in America is empowering.

Look for more selections for Auracene’s music compositions on fairies in America in the coming months. To contact the composer directly, email: