Pam Skully Fan / Blog

WITHOUT A VOICE 2 . . . Skully’s Electronic Voice.

Once again, Skully has tempted us into visualizations of his world with his Electronic Voice. Each of his music creations tells a story from deep within his heart and soul. It is up to the listener to form the images as they ‘hear it’. The amazing bonus in a Skully soundscape, is that you will hear new musical effects each time you listen; thus creating a fresh experience.

If you [like I] have been impatiently waiting for new music from the Tall Irish master of layering creative electronic music; you will be richly rewarded with the Without A Voice 2 album from Skully.

I would like to make a special mention of The Fireman’s Garden in which Skully’s remarkable music brings you through the emotions of 9/11 and intently guides you to a wonderfully tangible place for commemoration of the brave fire fighters who lost their lives trying to save innocent victims – The Firemen’s Garden aka the Garden of Remembrance in Ringfinnan, Kinsale, Ireland. I invite you to read my NOTE on my FB page.

The Sinking of the Lusitania. Animation by Winsor McCay, Music by Skully

21 Jan 2014 Write based on Skully's Video:


The vintage animation and narrative text of Winsor McKay’s The Sinking of the Lusitania will spellbind you; while Skully’s vivid orchestration will stimulate your senses bringing the story to life.

Skully has packed this soundtrack with his clever sound effects and expressive music such as the click of an old fashioned reel to reel movie projector, the ship’s duty watch bells, the intimidating sonar pings of the immoral submarine, rousing percussion and perfectly placed piano medleys that speak volumes.

Stimulating layers of percussion introduce the busy pace of the animators creating the 25,000 dramatic frames which made up the first record of the Sinking of the Lusitania.

Music intensifies with what could be a piano portrayal of Morse code when the narrative addresses the warnings issued by the German Embassy in New York {don’t miss the Statue of Liberty.}

A chilling rush of air sets up the eerie images of the villainous German submarine U-39 lurking in the nearby sea.

The music takes breathtaking pause just before the first torpedo hits Lusitania.

The movingly sombre piano melody could swell your chest with disappointment as the narrative frames identify some of the more prominent victims.

Skully’s music erupts in anger; while the narrative attempts to put a diverse spin on the obituaries, quoting an observation from the smiling Charles Frohman: ”Death is but a beautiful adventure”.

The layers of passionate piano and deep bass music elaborate the sense of desperation the passengers must have been experiencing as they struggled to the lifeboats.

Then, a baritone piano and bass cello articulate the horror of the second and fatal torpedo which caused the definitive destruction and massive loss of lives.

The profoundness of the catastrophe can be deeply felt here as Skully constructs his expressive annotations in a crescendo of music.

A weeping probing piano medley at 8:04 brought me a heavy heart as images of “The babe who clung to his mother’s breast [7:37]...” pierced my mind.

The fade to silence and stark white at the end of this video afford the viewer a contemplative moment to grasp what has just been a most shattering experience.

TROUBLE from Skully's Without A Voice [remastered] CD.


I’m posting this because MySpace LOST all of our blogs. I was able to resurrect some information from my personal documents files. I feel Skully's track TROUBLE deserves this FaceBook “Note”.

On 18 January 2010 at 7:23 p.m. Skully’s MySpace Mood & Status read: "TROUBLE...Straight in at Number 6 in the UK indie charts!!!

My Comments: This is an amazing track from Skully’s re-mastered WITHOUT A VOICE CD.

Skully put many hours in his recording studio to perfectly match the flute from the original1970's version with the guitar of the 2008 Roll Back version in his"remix" of this HORSLIPS favourite, TROUBLE WITH A CAPITAL T. (Watch Skully's brief Narrative YouTube video "Skully V Horslips" at http://youtu.be/x4cm0sPbgpY .)

To quote Skully,"...it was a eureka moment..." when success was achieved.

{Unfortunately we can NO LONGER: ‘Read more in [his MySpace] blog, "SKULLY makes TROUBLE!" at: http://lnk.ms/43gdN. That link is dead now}

If you listen very closely to the WITHOUT A VOICE CD track of TROUBLE you might hear a little treat I caught: In the middle [at 2:28] where there's an airy sound...and before the flute melody resumes, I hear a series of two beeps, three times in rapid succession; like the sound of an alarm clock or electronic timer.

Although Skully once wrote me: "I deliberately morphed and twisted the vocals on TROUBLE so I could put it on WITHOUT A VOICE." ; you should be able to make out the HORSLIPS verse: “High on a mountain stands a boat; but are they Gods or real folk?”

Pic: HMS Beagle by Conrad Martens.

The Enchantment of Skully’s Subsonics & QXD Technology. Part 1

May 9, 2009 Part 1 The Enchantment of Skully’s Subsonics & QXD Technology. By Pam Skully Fan. Skully’s music provokes ones senses. Cunningly placed ‘subsonic’1 bass notes are felt before they are heard. The realistic musical effects of the steady rhythm of the Toulouse 3:30 am Goods Train soothed my anxious nerves as the placid strings helped form joyful images of a sunny, lush green French countryside. This lead to my first experience with the gut vibrating sensation of ‘subsonics’1 that came from the series of four bass notes that emphasize the downbeat in the clickity-clack of the wheels from the Goods Train rolling across the steel rails in “Gare de Montrabe” from Skully’s “Without A Voice” (WOAV) album. On the desolate drive along Route 140 to New Bedford Massachusetts while listening to “Sadness” from Métisse’s “My Fault” album, I felt a pulsation in my chest like a Mack semi-truck passing or multiple ruts in the pavement. Realizing it was neither, thus adjusting the volume, revealed a subtle crescendo of ‘subsonic’ strings at 1:25 to 1:30 in this beautiful Skully creation. Like the enigmatic sensation in my chest, the first time I fell in love with Stephen4 at age 7, I could feel the thump of my heart in the two ‘subsonic’1 bass notes that follow the series of five audible bass notes repeated in “I Love You”, from Métisse’s “Nomah’s Land” album. Skully’s QXD Technology2 engages you into living and feeling the whole story of the piece. He has masterfully developed and incorporated the QXD Technology2 where the placement of each sound is key to the genius of his musical compositions. Although a bit of music by itself may arouse a specific emotion, skilfully mixed together, Skully’s concerto creates an eventful environment for the listener. His multi-dimensional “soundscapes” 3 are purposely intended to stimulate emotions in the listener. One not only hears but literally feels the music of Skully’s compositions creating a complete penetrating experience. Each composition transports the listener through an interactive and affecting event formulated by the listener’s own imagination. As I listened for the first time to “Journey to Oasis” from Métisse’s “Nomah’s Land” album, the tubular and panting sounds of inhaling and exhaling lulled me into a false sense of control over my breathing. The moaning strings combined with the strained clacks and deep drum beats set the pace for my footsteps along the arduous journey across the hot dry dunes of Sandy Neck, Cape Cod. At the uplifting melody of the sitar and Aïda’s joyful chants, when I realized I had stopped breathing because the tubular and panting special effects had paused; I had to GASP and remind myself to BREATH! The bubbly, clicking and sizzling electronic music felt like warm droplets of soft rain refreshing my face as I became encouraged at the realization of my journey’s end. {Continued on Part 2}

The Enchantment of Skully's Subsonics & QXD Technology. Part 2

May 9, 2009 Part 2 By Pam Skully Fan The mournful strings and anxious symbols in “Life” from Métisse’s “Nomah’s Land” album thrust me into the emphasis of the agonizing event. The short almost indistinguishable hums, chants and moans carefully threaded into the mix of sombre strings and piano brought back the very real sharp pain of heartbreak in my heart and chest. As the strings elevated and the Steinway piano became more emphatic, I found myself smack at the receiving end of these AT&T telephone messages. My heart became hard and cold from the sharp pain of the tenacity depicted in the thumping bass and defiant Steinway. Once again, I had to remind myself to BREATH! Skully’s creations leave you with a sense of rewarded stimulation. I could taste the smoothness of the yummy Semi-sweet Chocolate Fudge and feel the delight in my tummy as my spirit joined the small child skipping and dancing around his living room to the happy chorus of the Hammond organ in “The Seaport Fudge Factory” [in San Diego CA] from Skully’s WOAV album. I laughed as the image of the giggling musician at his keyboards, mixers & gadgets enforced the tempo with the drums & symbols; and rolled out a Ragtime piano medley to extend the ecstasy of the delicious experience. Skully’s winning makeover of the old Irish folk tale of “Molly Malone” from his “Irish Makeover” album is better than reading an Irish Fairy Tale; and has to be the best version ever done. Identifying each sound effect relative to the story has been a part of the wonderfully entertaining experience. Myles O’Reilly’s gently masculine vocals and the delightful harmony engaged me through to the sad ending. Molly’s cloth handbag tugged on my wrist from the weight of the coins dropping in. I was jostled and tossed by the bumping of the Woodies wheelbarrow across the cobblestone roads. My forehead felt sympathetically warm for Molly’s suffering of the Fever. And for me the reward was the excitement of feeling the chilled swoosh on my face of Molly’s ghost rushing past. I am so blessed to have had the privilege of literally feeling these wonderful events in listening to Skully’s brilliant multi-dimensional musical creations. Each one has been more exciting than the last because I invariably hear thrilling new sound effects at repeated listens. For me Skully’s music is like waking up to the joyous song of the Robin announcing a new Spring day; and like the reward from waiting on the Lord for answered prayer (it will be far greater than you could have ever imagined.) Anyone who listens to a Skully5 ‘soundscape’ will surely reap the benefit of his brilliant talent and expertise in the use of his QXD Technology. Footnotes: 1 sŭb-sŏńĭk (adj.): Of less than audible frequency. Having a speed less than that of sound in a designated medium. 1 ‘subsonics’: Go to Métisse on MySpace Music at http://www.myspace.com/metisse/blog/476506641 for the “Journey to Oasis” blog; read the comment posted by Métisse on Wednesday, March 18, 2009 - 10:30 AM. 2 Details of QXD Technology, devised by Skully can be found on the Métisse Official Website Homepage at http://metisse.music.free.fr/index.html When you get to the Métisse Official Website Homepage page, click on “QXD Technology” in the 2nd row of tabs}. 3 Go to Métisse on MySpace Music at http://www.myspace.com/metisse/blog/476506641 for the “Journey to Oasis” blog. 4 If you are a glutton for punishment {LOL-JK} and you like to read, an explanation of Stephen relative to Skully’s piano can be found in my Wed. Feb.27,2009 blog “First Loves & Skully’s Piano” at http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=399370878&blogId=472961685 5 For more information on the career of Skully, please visit http://www.squidoo.com/SkullyWithoutAVoice

“Life” by Métisse “Emotions in Music” {From their NOMAH'S LAND album}

This realistic piece of musical art from the duo Métisse {Aïda & Skully} is not unlike Skully’s album “Without A Voice”. The man in this incident is speaking in music so loud and clear, it pierces one’s heart! The rhythmic percussion, gentle subsonics and sombre strings accompany the woman, going through her own emotions. Her anxiety signified by a piano medley, prevents her from just waiting; and giving the man the time and space he needs to walk through the pain and confusion. As she speaks, she sounds remorseful and impatient, then hopeful. But finally succumbing to the anxiety, she gives him an ultimatum in the form of a question. They say that men don’t cry; but this brilliant track has hidden masculine moans of deep pain. Listen carefully. There is a parallel piano medley which becomes more manic as you feel the man becoming anxious himself. It is saying for the man: “I need time to think; to digest the pain; to wrap my head around this and understand what has happened; to identify my feelings and desires.” The woman’s ultimatum is accentuated with a silent pause. Then a hot piano medley accompanied by heart wrenching strings sing for the man: “NO! It’s NOT what I want. I don’t know what I want! I’m too hurt. But I’m a man and if I show hurt or pain, it is emasculating and like announcing to the world that I’m weak -- not strong!” The off-key chord at the end of this brilliant ‘unspoken’ story speaks volumes of the man’s sense of defeat. Skully for a man who is colour-blind, you have unprecedented vision with your music. And the blessed gift of wisdom of silence of a man. Get to know Métisse on MySpace at: http://www.myspace.com/metisse OR on Facebook at: http://www.facebook.com/pages/METISSE/312589916962 Listen to LIFE on ReverbNation at: http://www.reverbnation.com/metisse You can buy LIFE and the NOMAH'S LAND album at: http://stores.homestead.com/BlindFaithManagement/-strse-Metisse/Categories.bok

Skully's music in TriStar's SOUL SURFER movie.

Skully's NOMAH'S LAND is the emotionally moving piano music and Aïda's vocals {their duo Métisse} (at .49 to 1.17 - The hospital scene) in the trailer for TriStar's new movie SOUL SURFER. The inspiring true story about teen surfer Bethany Hamilton. Watch it here: http://www.youtube.com/watch?v=MWeOjBCi3c4 ..