Music Media Band Downloads Gigs Store Press Room Home

CD3 We are in the Time of Evil Clocks

We are in the Time of Evil Clocks was the third album from The Rebel Wheel and the second to be released through 10T records. It is many things but mostly it is a study in contrasts. Songs like "Scales", "Wordplay" and "Settling of Bones" are very tonal in nature and follow a fairly traditional poppy song structure. Contrasting that are songs like the title pieces book-ending the album, which are more electro-acoustic outings than anything else, although even here the verses of part 1 are dissonant and odd-metered whereas the choruses are tonal and in common time.

The epic piece "Discoverie of Witchcraft" exemplifies this contrast in an even more direct manner. The piece is cast in seven movements. Basically it follows a symphony form of four movements, the first being a sonata-allegro, the second a sonata-rondo, the third a scherzo and the last another sonata form, but these four large pieces are interrupted by three small folk-song styled acoustic pieces (Hags 1,2 and 3). The four larger pieces all use tone-rows as the basis for their composition and while exuding a hard-rock aggression and flaunting a plethora of odd-metered riffage, are at their core, atonal 12-tone compositions. The smaller Hags pieces are strictly diatonic and strongly rooted in a key. These disparate timbres contrast each other strongly and cause a strong motion of tension and release.

The album was recorded by the band live-off-the-floor (as much as possible) in various studios around Ottawa. They returned to Shattered Wing for some of it, did a whole lot at Fiction Music Productions and also recorded a fair bit in sax/vocalist Angie MacIvor's rehearsal studio. With the exception of Settling of Bones, which was all played by David Campbell and sung by Ange, the band used no click tracks and let a certain amount of tempo disparity reign. Even at that, the groove is solid and when David tempo mapped some songs in mixing (to have delays follow the beat etc.) it was found that the tempi varied very little in the course of, in some cases, an eight minute excursion. Nathan Mahl members (a band David was also in at the time and Claude had been in previously) were guest musicians on "Evil Clocks Part 1" and "Scales of the Ebony Fish". Artist Francis Dupuis did the graphics. More information on the recording process can be found on the band's blog

The album was released on June 16th 2010 and has been the band's most successful outing. On the strength of that album they were invited to play Progday, Rosfest, Progtoberfest, The Nuance festival, and over thirty gigs in Canada and the States.

The band:

David Campbell : guitars, keyboards, bass, vocals

Aaron Clark : drums

Angie MacIvor : sax, keyboards, vocals

Claude Prince : bass

Guy LeBlanc : keyboards on Scales

Guy Dagenais : bass on Evil Clocks 1

The album is available at the Rebel Wheel online store . It is also available at Germany's Rostfrei Records along with their entire catalog.

To download a pdf of CD3 lyrics go here or scroll down this page.

To download a rar file of CD3 artwork go here.

To download a rar file of CD3 sheetmusic go here.

Evolution of a tune

The song "Mad-Night" is part of the Discoverie of Witchraft piece and is a perfect example of the 12 tone writing that abounds on the album. Additionally it is a perfect example of how the song evolved from David's studio demo to the recording studio and to a live situation. We have embedded two different versions of the song over a one year period to illustrate the evolution of Mad Night (and the ever shifting band line-up)

Mad Night in the studio

Mad Night Live

Evil Clocks Lyrics

Evil Clocks P1

Outside, outside. I remember, I remember everything.

Klak Geordie Robertson 2008

My baby klaks, like the teeth of a shotgun cow,

dead meat, hits the killing floor.

My baby ticks, like a deathwatch beetle,

waiting patiently beneath, linoleum.

I dreamt I was homeless, wandering the strange avenues

In a daze lost and lonely, I called out for you.

My baby fucks, fucks like a hurricane,

tearing up the coastline at, break-neck speed.

My baby fucks, fucks like a hurricane,

tearing up the coastline at, break-neck speed.

I dreamt I was homeless, wandering the strange avenues

In a daze lost and lonely, I called out for you.

I dreamt I was home lying in, your arms like a child.

Until laughing and loved I, kissed you awake.

Wordplay Angie MacIvor 2009

Disturbing the heart and the head,a heaviness descends.

Words spoken in a tongue of flame.

The three-eyed demon of, lust, envy and deceit;it knows your name.

Close your eyes, nothing will be the same.

Close your heart, only way to escape the pain.

Pull away, retreat into yourself.

If you feel nothing you won't feel your own heart break.

Inspiring deep feelings of dread, another chapter ends.

Mere tokens in a heartless game.

The three sweet angels, fall on their knees and cry, they cry in vain.

Close your eyes, nothing will be the same.

Close your heart, only way to escape the pain.

Pull away, retreat into yourself.

If you feel nothing you won't feel your own heart break.

Disturbing the head and the heart, like actors playing a part,

words spoken in a strangers tongue.

Inspiring deep feelings of dread, another chapter ends,'til the story begins again.

Close your eyes, nothing will be the same.

Close your heart, only way to escape the pain.

Pull away, retreat into yourself.

If you feel nothing you won't feel your own heart break.

Scales David Campbell 1978

Scales of the ebony fish, the blind poet's wish, as the cities lie dying.

Tales of the mariner's rime, the song of a time, the dawn of denying.

And this, the moment of naught when all that we've got

are the bones of past movement.

This, the age of decay, the era when day,

is no different than night.

Discoverie of Witchcraft Ben Jonson 1609

Part 1: Convent

Dame dame, the watch is set.

Quickly now we all are met.

From the lakes and from the fens,

from the rocks and from the dens,

from the woods and from the caves,

from the church-yards and the graves,

from the dungeon, from the tree,

that they died on, here are we.

Part 2: Hags 1

I have been gathering wolves' hair,the mad-dog's foam and the adder's ears.

The spurgings of a dead man's eyes,and all since the evening star did rise.

I last night lay all alone on,the ground to hear a man-drake groan.

I plucked him up though he grew full low.And as I had done the cock did crow.

Under the cradle I did creep,by day and when the child was asleep.

I had a dagger; what did I with that? Killed the infant to have her fat.

Part 3: Mad Night,

The owl is abroad, the bat and the toad,and so is the cat-a-mountain.

The ant, the mole sit both in a hole,and frog peeps out of the fountain.

The dogs do bay and timbrels play, the spindle now is turning.

The moon is red, the stars have fled, but all the sky is burning.

Part 4: Hags 2

A murderer yonder was hung in chains, the sun and wind had shrunk his veins.

I bit off a sinew I clipped his hair, I brought off his rags that danced in the air.

I have been choosing out this skull, from charnel houses that were full.

I from the jaws of the watcher's bitch, did snatch these bones and with them leaped the ditch.

Part 6: Hags 3

The scritch-owl's eggs and the feathers black.

Blood of the frog and the bones in his back.

The worm in the mouth of the dog's remains.

I killed a black cat and here are the brains.

I went to the toad breeds under the wall.

I charmed him out and he came at my call.

I scratched out the eyes of the owl before.

I tore the bat's wings; what would you have more.

Yes I have brought to help our vows, horned poppy and cypress boughs.

The fog-tree wild that grows on tombs,and juice that from the larch-tree comes.

Basilick's blood and the viper skin.

And now our orgies let's begin.

Back to top