Includes password to download accompanying Lyrics & Artistic Writing Digital Booklet.
‘Ballad of a Murderess’ is a 14 track journey through a timeless mythological world. Inspired by three different eras from the past, a quasi-present day and one future era, songs such as A Thousand Years showcase Julia's fascination with Time's vastness. Julia's darkest album to date, in keeping with her signature vision, has special moments of illumination including the ambition inducing 'The Night’, the gently celebratory 'The Universe’ and the mysterious devotional ‘You’re the Song’. Spoken word pieces further enchant listener's and act as segues between songs. Late Victoriana, Early Edwardian, Late Medieval, Early Renaissance, Williamsian and Olivian.
‘Ballad of a Murderess’ is set for release on the Julia Mosley’s own record label Opalite Records. It is Julia’s fourth studio album release and the first to be recorded at the illusive Illumilight Studios, which is said to be situated in an ancient temple. The album features the eerie and direct single of the same name as the intense and sinister finale to the album.
Other stand out tracks including moralis-dilemma track Luna Moth a song with Late Victorian/ early Edwardian influence that exudes from its lyrics in talk of British-Empire-conjuring iconography. The haunting experience with false memories in ‘Zachary’ and the journey to the Dark Ages in the Medieval Fantasy-inspired ‘Rosemoon’.
Arwen, Isolde, Guinevere and Luxcirella call out to each of their's beloved, and the Rosemoon listens, the Strawberry-Silverwhite Qamar listens, shining her incandescent flamingo feathers' light all the way to the Williamsian era where our omnipresent Universe is waiting. Waiting to reveal in the essence of the New Age that we can build a dream where all the cosmos lives for real in our imagination.
Rochester, Gray, Sharpe, Lucifer, Starrose, Green and Lomax they have all embodied Satan. They have all personified the evil that the Devil represents. Violet, Ophelia, Sybil, Mary are the millennial incarnation of logical Insanity, pushed to inevitable madness at the ever-pushing hands, the eternally raising voices and always watching Eye of the High Priest of Evil Spirits. In the embodiment of vengeful justice, ‘A Thousand Years’ is a quasi-feminist anthem that seeks to restore the balance. From centuries of a masculine branch of evil to a moment of the feminine strike of ethereally powerful retribution. With this new-found power, she rises to become the Devil that she once feared and despised, now Evil seems so gentle and light and right, as a Vigilante she becomes, to retaliate in the guise of safety as a savior veiled in the iridescent mesh of retaliation. Ballad of a Murderess is the dark twist of tables turning.