This ambient expanse was originally intended as a preshow 'mood setting' for a performance of "Macbeth" in the spring of 2005.

A technical dispute with the director led me to withdraw from the project two days before the show went up. This piece also brought to fore a creative rift between my Trecento partner Sean Smith and me. During our last, frustrating session together as I attempted and failed to get Sean to play and expand upon the main theme (a statement of which occurs at 21:30) I'd written for the show. It was discouraging and fruitless and none of his tracks were included in the final mix of "Seas Incarnadine" though there still are one or two pieces from this session which may one day find their way to blueinfinite.com. We were definitely not on the same page any longer and Trecento withered soon thereafter.

In the end I believe the piece was never properly finished -- a catastrophic hard drive failure precipitated the loss of the backing tracks. Because of this massive data loss a final, definitive mix will never be realized.

"Seas Incarnadine" is designed to be a precognitive vision or dream the Thane has before the action of the play takes place. The intent of playing this before the show was to immerse the audience into not only the environment "Macbeth", but also the mind of its protagonist: fog, cold stone and rain, a grim sort of ambition, death, magic, and oceans of blood.

Musically, "Seas Incarnadine" exists in a netherworld of spoken word, sparse electronics, and moments of symphonic orchestration.

On a personal level, with regards to Sean and what became of Trecento, "Seas Incarnadine" also has a measure of scarring and pain attached to it.

--Terry
March 2006