The six members of MooN together in darkness, lit by a single warm light from the side, with the amber MooN wordmark above them.

MooN

Transmission ongoingTransmissão em curso 384,400 km

None of them knew each other. In six cities, in six countries, they played rooms too small to be noticed — until one day the same silent invitation reached all of them. The six said yes. None of them has been seen since. Once a month, a transmission arrives.Nenhum deles se conhecia. Em seis cidades, em seis países, tocavam em salas que o mundo não notava — até que em um dia o mesmo convite silencioso alcançou a todos. Os seis disseram sim. Nenhum foi visto desde então. Uma vez por mês, chega uma transmissão.

Hear the transmissionsOuvir as transmissões

The TransmissionA Transmissão

On March 13, 2026, they were living separate lives, in six corners of the world, joined by only one thing they didn’t yet know they shared: every night, each of them climbed onto some small stage and played with an urgency out of all proportion to the size of a room where no one was paying attention.Em 13 de março de 2026, viviam vidas separadas, em seis cantos do mundo, unidos por uma só coisa que ainda não sabiam: toda noite, cada um deles subia em algum palco pequeno e tocava com uma urgência desproporcional ao tamanho de uma sala onde ninguém prestava atenção.

A band playing a crowded, smoky bar; the singer at the centre is lit from the side while the room barely watches.

Iaci lived in Salvador, Brazil. She sang and played harmonica in the bars of the old town, on those hot nights when even the sea brought no relief. Her voice came out low and ragged through the smoke, and when she closed her eyes she seemed to be calling out to someone far away — never knowing that, high above, someone was listening.Iaci vivia em Salvador, no Brasil. Cantava e tocava gaita nos bares do centro antigo, naquelas noites quentes em que nem o mar trazia alívio. A voz saía grave e rasgada através da fumaça, e quando fechava os olhos parecia chamar por alguém muito longe — sem nunca saber que, lá em cima, alguém escutava.

A band on a low brick-ceilinged stage in a brewery hall, the guitarist at the centre leaning into a riff.

Stern played a coal cellar in Hamburg, Germany, under a low ceiling of brick. A guitarist with precise fingers and a closed-off stare, he tore out riffs that rattled the glasses, and every night he walked home alone through the harbor fog, still unsure how long he could keep calling it temporary.Stern tocava num porão de carvão em Hamburgo, na Alemanha, sob um teto baixo de tijolo. Guitarrista de dedos precisos e olhar fechado, arrancava riffs que faziam os copos tremerem, e toda noite voltava sozinho para casa pela neblina do porto, ainda sem saber quanto tempo conseguiria chamar aquilo de provisório.

A band packed into a tiny basement room with a handful of people watching, the singer at the centre.

Mizuki sang and played piano and organ in Kyoto, Japan, in a tiny basement that held maybe twenty people. Small and still, she had a voice no one expected from someone so quiet — and a name that meant “beautiful moon,” something she’d laugh about later, once she understood.Mizuki cantava e tocava piano e órgão em Kyoto, no Japão, num porão minúsculo onde cabiam talvez vinte pessoas. Pequena e contida, tinha uma voz que ninguém esperava de alguém tão calada — e um nome que significava “lua bonita”, coisa de que ela riria mais tarde, quando entendesse.

A band playing a dim pub, the bass player at the centre holding down the groove while drinkers talk.

Orion worked the pubs of Manchester, England, with an old bass and an even older coat. Tall and sparing with words, he held down the groove like a man holding the world in place. He watched the stars on the way home with the same patience he brought to almost everything: demanding no answer from them at all.Orion rodava os pubs de Manchester, na Inglaterra, com um baixo velho e um casaco ainda mais velho. Alto e econômico nas palavras, sustentava a levada como quem segura o mundo no lugar. Olhava as estrelas no caminho de casa com a mesma paciência com que fazia quase tudo: sem exigir delas resposta alguma.

A band playing an almost empty bar, the singer at the centre giving everything to a room of empty chairs.

Rigel came from Nashville, USA — a town where everyone plays and almost no one gets heard. Curly-haired, with a voice like embers, he was the kind of musician who gives everything to an empty bar on a Tuesday night, just for the joy of giving it. At the center of any stage, he always seemed to be waiting for a sign.Rigel vinha de Nashville, nos Estados Unidos — uma cidade onde todo mundo toca e quase ninguém é ouvido. De cabelos cacheados e voz feito brasa, era do tipo que dá tudo para um bar vazio numa terça-feira, só pela alegria de dar. No centro de qualquer palco, parecia sempre esperar um sinal.

A band filling a loud room, the drummer at the centre grinning as she hammers the kit.

Nova hit the drums in Melbourne, Australia, with a joyful fury that filled any room. She grinned while she demolished the kit, and told her friends that one day she’d play “somewhere else.”Nova tocava bateria em Melbourne, na Austrália, com uma fúria alegre que enchia qualquer sala. Sorria enquanto demolia o kit, e dizia aos amigos que um dia tocaria “em outro lugar”.

And then it happened.E então aconteceu.

There were no ships in the sky, no headlines in the papers. Only this: on the same day, each of the six felt the same call — a soft light, a silent invitation, a strange and peaceful certainty. From high above — the Moon itself — someone had been watching humanity for a very long time. Not conquerors, not judges: travelers. The curious. Collectors of beauty. And what fascinated them most about humans was this — the music we make even when no one is clapping.Não houve naves no céu, nem manchetes nos jornais. Apenas isto: no mesmo dia, cada um dos seis sentiu o mesmo chamado — uma luz suave, um convite silencioso, uma certeza estranha e serena. Lá do alto, da própria Lua, alguém observava a humanidade havia muito tempo. Não conquistadores, não juízes: viajantes. Os curiosos. Colecionadores de beleza. E o que mais os fascinava nos humanos era isto — a música que fazemos mesmo quando ninguém aplaude.

They chose six. Not the most famous, not the most technical. The ones who kept playing when there was no one left to impress. And they invited them on an interplanetary journey of knowledge and kinship — six strangers from Earth, brought together at last under a single name, to discover the universe and, perhaps, themselves.Escolheram seis. Não os mais famosos, nem os mais técnicos. Aqueles que continuavam tocando quando já não havia ninguém para impressionar. E os convidaram para uma viagem interplanetária de conhecimento e afeto — seis desconhecidos da Terra, reunidos enfim sob um único nome, para descobrir o universo e, talvez, a si mesmos.

Iaci, Stern, Mizuki, Orion, Rigel and Nova said yes.Iaci, Stern, Mizuki, Orion, Rigel e Nova disseram sim.

Today their whereabouts are unknown. No one knows where they are, what they see, which skies they cross. But once a month a transmission reaches Earth — new songs, recorded somewhere we can’t quite place on any map. And through the music, you can feel it: they are well. They are free. They are still singing about us.Hoje seu paradeiro é desconhecido. Ninguém sabe onde estão, o que veem, que céus atravessam. Mas uma vez por mês uma transmissão chega à Terra — canções novas, gravadas em algum lugar que não conseguimos situar em mapa nenhum. E pela música dá para sentir: eles estão bem. Estão livres. E seguem cantando sobre nós.

The strangest part is that these monthly transmissions to Earth come from the MooN.O mais estranho é que essas transmissões mensais para a Terra vêm da MooN.

The BandA Banda

Tap a portrait to see their file.Toque num retrato para ver a ficha.

  • Stern · Guitar · Voice· Guitarra · Voz

    Hamburg, Germany · 2 July 1991Hamburgo, Alemanha · 2 de julho de 1991

    Timbre
    Dry and cutting, contempt kept at arm's length.Seco e cortante, o desprezo mantido à distância.
    BeforeAntes
    Industrial mechanic by training, guitarist by choice. He was divided between the security of something he did very well and the uncertain life he wanted to build in music.Mecânico industrial por formação, guitarrista por escolha. Dividia-se entre a segurança de algo que fazia muito bem e a vida incerta que queria construir na música.
    WhereaboutsParadeiro
    UnknownDesconhecido
  • Mizuki · Hammond · Piano · Voice· Hammond · Piano · Voz

    Kyoto, Japan · 13 July 1998Quioto, Japão · 13 de julho de 1998

    Timbre
    Starts contained. Doesn't end that way.Começa contida. Não termina assim.
    BeforeAntes
    Translator by day, singer and keyboardist by night. She knew what she wanted, but tended to wait until life decided for her.Tradutora durante o dia, cantora e tecladista à noite. Sabia o que queria, mas costumava esperar até que a vida decidisse por ela.
    WhereaboutsParadeiro
    UnknownDesconhecido
  • Iaci · Harmonica · Voice· Gaita · Voz

    Salvador, Brazil · 16 July 1994Salvador, Brasil · 16 de julho de 1994

    Timbre
    Low and ragged, carried through smoke.Grave e rasgada, atravessando a fumaça.
    BeforeAntes
    English teacher, singer and harmonica player in her spare time. She was learning, at last, to ask for room for herself — and not just to accept when she was called.Professora de inglês, cantora e gaitista nas horas vagas. Aprendia, enfim, a pedir espaço para si — e não apenas aceitar quando era chamada.
    WhereaboutsParadeiro
    UnknownDesconhecido
  • Orion · Bass · Voice· Baixo · Voz

    Manchester, England · 7 July 1991Manchester, Inglaterra · 7 de julho de 1991

    Timbre
    Deep and unhurried, closer to speech than to song.Grave e sem pressa, mais perto da fala do que do canto.
    BeforeAntes
    Music librarian and bassist, reserved and patient. He liked the life he had, but was beginning to see the difference between staying and choosing to stay.Bibliotecário musical e baixista, reservado e paciente. Gostava da vida que tinha, mas começava a perceber a diferença entre permanecer e escolher permanecer.
    WhereaboutsParadeiro
    UnknownDesconhecido
  • Rigel · Guitar · Acoustic Guitar · Voice· Guitarra · Violão · Voz

    Nashville, USA · 5 July 1997Nashville, EUA · 5 de julho de 1997

    Timbre
    Embers. Melodic until it tears.Brasa. Melódica até rasgar.
    BeforeAntes
    Guitarist and worker at a musical equipment company. After years of treating the job as temporary, he was beginning to accept that this, too, was his life.Guitarrista e trabalhador de uma empresa de equipamentos musicais. Depois de anos tratando o emprego como provisório, começava a aceitar que aquela também era sua vida.
    WhereaboutsParadeiro
    UnknownDesconhecido
  • Nova · Drums · Voice· Bateria · Voz

    Melbourne, Australia · 11 July 1999Melbourne, Austrália · 11 de julho de 1999

    Timbre
    Bright and furious, all teeth.Brilhante e furiosa, só dentes.
    BeforeAntes
    Professional drummer, teacher and fill-in for bands and events. She lived off music without much certainty, but with the conviction that to keep playing was enough for now.Baterista profissional, professora e substituta em bandas e eventos. Vivia da música sem grandes certezas, mas com a convicção de que continuar tocando era suficiente por enquanto.
    WhereaboutsParadeiro
    UnknownDesconhecido

BookO Livro

In January 2026, six strangers were living in six different countries.Em janeiro de 2026, seis desconhecidos viviam em seis países diferentes.

An English teacher who plays harmonica in the bars of Salvador. An industrial mechanic who walked away from the trade in Hamburg. A drummer in Melbourne, a translator in Kyoto, a librarian in Manchester, a man who hauls band gear in Nashville.Uma professora de inglês que toca gaita nos bares de Salvador. Um mecânico industrial que largou a profissão em Hamburgo. Uma baterista em Melbourne, uma tradutora em Kyoto, um bibliotecário em Manchester, um sujeito que carrega equipamento de banda em Nashville.

Work, family, bills, postponed decisions, plans for the following week.Trabalho, família, contas, decisões adiadas, planos para a semana seguinte.

None of them knew the others existed. The only thing they had in common was music.Nenhum deles sabia da existência dos outros. A única coisa que tinham em comum era a música.

MooN ORIGINS follows the ten weeks when that was still all they were.MooN ORIGENS acompanha as dez semanas em que ainda eram apenas isso.

Read on Google PlayLer no Google Play

Cover of the novel MooN ORIGINS by George Coelho: a hardcover book seen at an angle, its black jacket carrying MooN in gold lettering above a side-lit moon, over a rocky plain where a lone figure in a long coat faces a vertical beam of light. Cover of the novel MooN ORIGENS, the Portuguese edition, by George Coelho: a hardcover book seen at an angle, its black jacket carrying MooN in gold lettering above a side-lit moon, over a rocky plain where a lone figure in a long coat faces a vertical beam of light.

The RecordsOs Discos

Five transmissions, five ways of playing. SIN came in raw: dirty blues hard rock with a 70s edge, guitar up front, torn vocals, nothing between the band and whoever’s listening. VIRTUES opened the arrangement without changing its skin — southern rock came in through the slide guitar, the harmonica and the Hammond, and the blues stayed where it was. HERE LIES went further: a cemetery in downstate Illinois called for the sound of those farms, and the band went to get it — piano, banjo and acoustic guitar underneath, the music they played out there in 1915, before anyone called it country. GROOVE arrived without a voice and went back to the weight: heavy psychedelic blues rock, six instruments and nothing else, each track handed to one of them until the last, where they all fall into the same groove. CONVICTION brought the voices back into that weight and let it go dark: psychedelic blues rock built on a 1647 pamphlet in which a witch-finder answered his critics, each song one of his arguments.Cinco transmissões, cinco maneiras de tocar. SIN chegou cru: hard rock de blues sujo com pegada dos anos 70, guitarra à frente, vocais rasgados, nada entre a banda e quem escuta. VIRTUES abriu o arranjo sem trocar de pele — o southern rock entrou pela slide guitar, pela gaita e pelo Hammond, e o blues continuou ali. HERE LIES foi mais longe: um cemitério no interior de Illinois pedia o som daquelas fazendas, e a banda foi buscá-lo — piano, banjo e violão por baixo, a música que se tocava por lá em 1915, antes de alguém chamar aquilo de country. GROOVE chegou sem voz e voltou ao peso: blues rock pesado e psicodélico, seis instrumentos e nada mais, cada faixa entregue a um deles até a última, em que todos caem no mesmo sulco. CONVICTION trouxe as vozes de volta para esse peso e deixou que ele escurecesse: blues rock psicodélico construído sobre um panfleto de 1647 em que um caçador de bruxas respondia aos seus críticos, cada canção um dos seus argumentos.

A different ground each time. The same band. The blues never left the bones.Cada disco, um terreno diferente. A mesma banda. O blues nunca saiu da alma.

SIN album artwork: a worn record sleeve in aged sepia. A ten-segment wheel holds one black silhouette for each sin — a bee, a crown, a panther, a snake, a hog, a puppeteer's hand — each lit from behind, with a crescent moon glowing at the hub and a vinyl disc emerging from the sleeve at the right.

Transmission 1Transmissão 1 2026

SIN

A ten-track concept album. The seven deadly sins plus three modern ones — cynicism, indifference, manipulation. Less a moral lesson than a series of confessions.Um álbum conceitual de dez faixas. Os sete pecados capitais mais três modernos — cinismo, indiferença, manipulação. Menos uma lição de moral do que uma série de confissões.

Every song is sung from inside the sin — by the thing itself, or by whoever it has already finished devouring.Cada canção é cantada de dentro do pecado — pela própria coisa, ou por quem ela já terminou de devorar.

SoundSom
Dirty blues hard rock with a seventies gripHard rock de blues sujo com pegada setentista
LyricsLetras
Original compositions in English, inspired by public-domain poetry. Nothing is a translation.Composições originais em inglês, inspiradas em poesia de domínio público. Nada é tradução.
For fans ofPara quem gosta de
Seventies hard rock with a southern streak, blues rock, dark concept albumsHard rock dos anos 70 com veia sulista, blues rock, álbuns conceituais sombrios

  1. Play Envy on SpotifyOuvir Envy no Spotify 01

    Envy Lead vocal: Vocal principal: Nova

    Ovid’s Invidia, gnawing on snakes in a cave the sun never reaches, unable to bear the sight of anyone’s happiness. She rots what she touches and rots herself doing it.A Invidia de Ovídio, roendo serpentes numa caverna onde o sol nunca chega, incapaz de suportar a visão da felicidade alheia. Apodrece o que toca e apodrece a si mesma ao fazê-lo.

  2. Play Cynic on SpotifyOuvir Cynic no Spotify 02

    Cynic Lead vocal: Vocal principal: Stern

    Contempt as armour. The hand that strokes you is the same hand that will pick up the stone; the kiss is the rehearsal for the spit.O desprezo como armadura. A mão que te acaricia é a mesma que vai pegar a pedra; o beijo é o ensaio do cuspe.

  3. Play Lust on SpotifyOuvir Lust no Spotify 03

    Lust Lead vocal: Vocal principal: Iaci

    Not seduction but appetite without end: the refusal to belong to anyone, sung as freedom and heard as hunger.Não sedução, mas apetite sem fim: a recusa de pertencer a alguém, cantada como liberdade e ouvida como fome.

  4. Play Hubris on SpotifyOuvir Hubris no Spotify 04

    Hubris Lead vocal: Vocal principal: Rigel

    A poor man meets something small and glowing that calls itself glory. He opens it up to own the secret, and is left kneeling in the dark, a king of nothing.Um homem pobre encontra algo pequeno e luminoso que se diz glória. Ele o abre para possuir o segredo, e fica de joelhos no escuro, rei de coisa nenhuma.

  5. Play Gluttony on SpotifyOuvir Gluttony no Spotify 05

    Gluttony Lead vocal: Vocal principal: Orion

    Dante’s third circle. A man who made a banquet of his life, now face-down in freezing mud, still starving, torn at by a three-headed dog who is himself a glutton.O terceiro círculo de Dante. Um homem que fez da vida um banquete, agora de bruços na lama gelada, ainda faminto, dilacerado por um cão de três cabeças que é, ele próprio, um glutão.

  6. Play Greed on SpotifyOuvir Greed no Spotify 06

    Greed Lead vocal: Vocal principal: Stern

    Money on the throne and the whole world lining up to bow. Everybody’s got a price; cover a dog in gold and watch them crown him.O dinheiro no trono e o mundo inteiro na fila para se curvar. Todo mundo tem um preço; cubra um cão de ouro e veja-o ser coroado.

  7. Play Sloth on SpotifyOuvir Sloth no Spotify 07

    Sloth Lead vocal: Vocal principal: Orion

    The sweetest sin: rain on the window, books unopened, a life quietly rotting under a warm blanket. Tomorrow, tomorrow.O mais doce dos pecados: chuva na janela, livros fechados, uma vida apodrecendo em silêncio sob um cobertor quente. Amanhã, amanhã.

  8. Play Indifference on SpotifyOuvir Indifference no Spotify 08

    Indifference Lead vocal: Vocal principal: Iaci

    The cruelty that never raises its voice. A queue that hasn’t moved since dawn, a bed that never opens — and the curtain drawn on all of it.A crueldade que nunca levanta a voz. Uma fila que não anda desde o amanhecer, um leito que nunca vaga — e a cortina fechada sobre tudo isso.

  9. Play Manipulation on SpotifyOuvir Manipulation no Spotify 09

    Manipulation Lead vocal: Vocal principal: Mizuki

    The full cycle, in the voice of the one who survived it: the flood of love, the slow theft of her own memory, the moment the blame gets turned around. It ends with the lights coming on.O ciclo completo, na voz de quem sobreviveu a ele: a enxurrada de amor, o roubo lento da própria memória, o momento em que a culpa é virada do avesso. Termina com as luzes se acendendo.

  10. Play Wrath on SpotifyOuvir Wrath no Spotify 10

    Wrath Lead vocal: Vocal principal: Rigel

    Rage held down so long it becomes a vow. If vengeance can’t be taken in life, it will be taken afterwards.Uma raiva contida por tanto tempo que vira juramento. Se a vingança não puder ser cobrada em vida, será cobrada depois.

Inner sleeveEncarte Transmission 1Transmissão 1

SIN

As letras permanecem no inglês original. Traduzi-las mudaria a música.

01 Envy

(Green... green in the blood...)

I live in a cave where the sunlight won't come
No fire, no wind, where the cold leaves me numb
I'm chewing on vipers, I'm swallowing the rot
It's feeding the venom and it's all that I've got

And I can't stand the light when it shines down on you
There's a sickness in me and there's nothing it won't do

'Cause I'll eat you alive and it's eating me too
Green in my blood, got a poison I chew
I rot what I touch, I rot what I see —
The poison I feed you is poisoning me
(poisoning me...)

Pale as a corpse with my teeth black as rust
Poison on my tongue and my heart green with disgust
I can't close my eyes, never laugh, never rest —
'til I see someone falling, then I'm feeling my best

And I can't stand the light when it shines down on you
There's a sickness in me and there's nothing it won't do

'Cause I'll eat you alive and it's eating me too
Green in my blood, got a poison I chew
I rot what I touch, I rot what I see —
The poison I feed you is poisoning me
(poisoning me...)

So I take up my staff that is twisted with thorns
And I shroud my whole body in the blackest of storms
Everywhere that I walk gonna wither and die
I breathe out my poison and I blacken the sky

I see you happy —
and I can't bear the light.
So I'll creep to your bed,
pour the black in your veins tonight.

'Cause I'll eat you alive and it's eating me too
Green in my blood, got a poison I chew
I rot what I touch, I rot what I see —
The poison I feed you is poisoning me

(I rot what I touch... I rot what I see...)
The poison I feed you is poisoning me
(green... green in the blood...)

02 Cynic

No one came to the funeral
of the last dream I had left
they lowered her down in silence
and they turned their backs on the grave
Only a panther followed me home
black as a debt no one pays —
and her name is Ingratitude,
she has never walked away

So get used to the mud, my friend,
it's the only bed they made for you

'Cause the hand that caresses
is the hand that throws the stone
and the kiss on your mouth
is the eve of the spit you'll be thrown
strike the match, let it burn,
there's no tenderness left to learn —
the hand that caresses
is the hand that throws the stone

In this miserable country
where a man lives among the beasts
you will feel it crawl inside you —
the need to grow teeth, the need to feast
there's no use in staying human
when the human is the lie
so you bare your fangs at the mirror
and you learn how the wolves survive

So get used to the mud, my friend,
it's the only bed they made for you

'Cause the hand that caresses
is the hand that throws the stone
and the kiss on your mouth
is the eve of the spit you'll be thrown
strike the match, let it burn,
there's no tenderness left to learn —
the hand that caresses
is the hand that throws the stone

Take a match.
Light your cigarette.
Breathe the smoke,
swallow the regret.
And if there's anyone left
who still pities your wound —

then stone that vile hand
that dares to caress you,
spit in the mouth
that bends down to bless you —
the hand that caresses
is the hand that throws the stone
(the hand that caresses…
is the hand that throws the stone)

03 Lust

(Love 'em all... love nobody at all...)

I wanna love, love like I'm losing my mind
Love just to love — this one, that one, the whole of mankind
Here and beyond, every stranger I meet
Love 'em all, love 'em all, and love nobody complete

There's a springtime burning in every life you're given
And if God gave me a voice, then by God I'm gonna sing it

And if one day I'm dust, I'm ash, I'm nothing at all
Let my darkest night break open like a morning that calls
Lose myself — to find myself — that's the only way I know
Burn it all the way down and I'm never letting go

Remember? Forget? I don't care either way
Hold on or let go — is it sin? Who's to say?
Anyone who swears they'll love just one soul till they die
Oh, they're lying through their teeth — it's a beautiful lie

There's a springtime burning in every life you're given
And if God gave me a voice, then by God I'm gonna sing it

And if one day I'm dust, I'm ash, I'm nothing at all
Let my darkest night break open like a morning that calls
Lose myself — to find myself — that's the only way I know
Burn it all the way down and I'm never letting go

No chains gonna hold me, no name gonna stay
Every flower's gonna bloom and every flower fades away
So kiss me like the dawn, like there's nothing left to save —
I'd rather burn up wild than go quiet to the grave

And if one day I'm dust, I'm ash, I'm nothing at all
Let my darkest night break open like a morning that calls
Lose myself — to find myself — that's the only way I know
Burn it all the way down and I'm never letting go

(Lose myself... to find myself...)
Burn it all the way down and I'm never letting go
(Love 'em all... love nobody at all...)

04 Hubris

She was born from a red rose on a hot summer night
Burning gold, burning red, making her own light
Came up glowing through the dark, brighter than the sun
Brighter than a diamond when the day was done

A poor man saw her blazing, fell down on his knees
Cried, "Tell me, little firefly, who taught you to shine like these?"

"I'm the life, I'm the flower, I'm the glory and the flame,
I'm the love you never had, I'm the crown without a name."
So bow down, bow low to the firefly
While a beggar builds an empire in the corner of his eye

She spun him a palace, threw the golden gates open wide
A throne built for a beggar, silver mountains either side
He saw himself crowned, saw a whole world bow and reign
And pride lit a fire roaring hot through his veins

He said, "If she's my glory then her secret's mine to own,
I'll crack her open, take the light, and rule it all alone."

"I'm the life, I'm the flower, I'm the glory and the flame,
I'm the love you never had, I'm the crown without a name."
So bow down, bow low to the firefly
While a beggar builds an empire in the corner of his eye

So he tore her wings apart just to see what made her gleam
Ripped the wonder open just to own the golden dream
He reached inside the secret, reached to claim his royal due—

And there was nothing.
Nothing but a dead little fly gone cold and blue.

Now he wanders through the garden with a hole inside his mind
Chasing after light that he will never, never find
Pride, it stole the wonder; pride, it burned the throne—
He's the king of all that nothing, and the firefly's gone
(Gone... gone... the firefly's gone)

05 Gluttony

(Still hungry... still hungry...)

They call me the Hog and I'm down in the slime
Face in the mud since the end of my time
The rain never stops, it's freezing and black
Hail and filth coming down on my back

I roll and I turn but there's nowhere to hide
One side's a shield for the other side

Down in the mud where the cold rain pours
Face in the filth on the rotting floor
I ate like a king, now I rot like a hog
Still starving forever in the freezing fog
(still hungry... still hungry...)

Three heads on the hound and his eyes burning red
Swollen-belly beast wanna chew me to shreds
He flays me, he claws me, he tears at my hide
And I howl like a dog with no place to hide

I roll and I turn but there's nowhere to hide
One side's a shield for the other side

Down in the mud where the cold rain pours
Face in the filth on the rotting floor
I ate like a king, now I rot like a hog
Still starving forever in the freezing fog
(still hungry... still hungry...)

In life I was hungry for more, more, more
Every table a kingdom, every feast a war
Now a poet throws mud in the three-mouthed hound —
and even the monster gulps it down

So I'll lie here and rot till the end of it all
Face in the mud till the last trumpet's call.

Down in the mud where the cold rain pours
Face in the filth on the rotting floor
I ate like a king, now I rot like a hog
Still starving forever in the freezing fog

(Still hungry... still hungry...)
I ate like a king — now I rot like a hog

06 Greed

(Everybody's got a price...)

Money sits on a golden throne with ambition at its feet
Bootlickers bowing down low, lining up along the street
"What is it you need, my lord?" — oh, they grovel, oh, they crawl
There's no danger it can't buy, there's no power stands too tall

It gives a fool a silver tongue, makes a coward act so brave
Turns a beggar to a baron, turns a free man to a slave

Everybody's got a price, everybody's got a price
Throw the gold, watch 'em fold, roll the loaded dice
Everybody's got a price — oh, the saint and the thief
Diamonds in the devil's hand, that's the golden creed

A rich man kills his own father, the law just looks away
Buys himself five witnesses, lets the courthouse rot and pay
Hires the clerk, hires the lawyer, makes the judge forget his name
Six months gone and the case falls cold — oh, ain't that a crying shame

It gives a fool a silver tongue, makes a coward act so brave
Throw some gold on a dirty lie and they'll swear it on a grave

Everybody's got a price, everybody's got a price
Throw the gold, watch 'em fold, roll the loaded dice
Everybody's got a price — oh, the saint and the thief
Diamonds in the devil's hand, that's the golden creed

Throw your gold on the dead and the bones start to dance
Cover a dog in shining coins and they'll crown him at a glance
A rich man buried his hound like a king, with a marble stone
Left a fortune to the priest just to bless the dog's own bones

The ugliest face in town turns fair...
when the coins start to gleam.

Everybody's got a price, everybody's got a price
Throw the gold, watch 'em fold, roll the loaded dice
Everybody's got a price — oh, the saint and the thief
Diamonds in the devil's hand, that's the golden creed

So sell it cheap, sell it all, while the golden idol grins
Everybody's got a price — oh, that's how the devil wins
(Everybody's got a price... price... price...)

07 Sloth

(Let it rain... let it fall...)

What a sleep, what a yawn, and the rain's coming down
Falling slow, falling gray, the only sound in this town
My books lie asleep by the foot of my bed
Dante, the Bible, and Byron unread

I ain't gonna rise, I ain't gonna try
Just the rain on the glass and the gray in the sky

Oh, how sweet to do nothing at all
Watch the hours drip slow down the wall
Let the world go on spinning, let it knock, let it call —
Oh, how sweet to do nothing at all
(let it rain... let it fall...)

There's a dust on my dreams and a fog in my head
Too tired to live, too lazy for dead
Even my candle leans over to doze
Too bored to burn, so the long evening goes

I ain't gonna rise, I ain't gonna try
Just the rain on the glass and the gray in the sky

Oh, how sweet to do nothing at all
Watch the hours drip slow down the wall
Let the world go on spinning, let it knock, let it call —
Oh, how sweet to do nothing at all
(let it rain... let it fall...)

There's a whole life out there that I'm letting go by
Every door that I'm leaving unopened to die
And I know, and I know, that it's rotting me slow —
but the bed is so warm and I've nowhere to go

Tomorrow, tomorrow...
yeah, I'll start it all then.
(I never begin... I never begin...)

Oh, how sweet to do nothing at all
Watch the hours drip slow down the wall
Let the world go on spinning, let it knock, let it call —
Oh, how sweet to do nothing at all

(How sweet... to do nothing at all...)
Let it rain... let it fall...

08 Indifference

Flowers growing in the drains
The ones nobody names
Blind hands on the door
Reaching, getting ignored

Hands stretched out to the cold
And you got yours, so you fold

You see them and you look away
Step right over them every day
The gate is crowded, the line is long —
you shut the curtain and you move along

Old man waiting since dawn
A bed that never comes on
A number nobody calls
Behind those clean white walls

Hands stretched out to the cold
And you got yours, so you fold

You see them and you look away
Step right over them every day
The gate is crowded, the line is long —
you shut the curtain and you move along

This is the world you built and blessed
You sleep like a king on the backs of the rest
But the ragged ones are marching strong
The flood you forgot's been rising all along

You never hated them.
That's the worst of all.
You just turned your back.

You see them and you look away
Step right over them every day
The gate is crowded, the line is long —
shame on the comfort that taught you wrong

You never hated them —
you just turned your back

09 Manipulation

He built me a heaven on the very first night
Said nobody ever loved me the way that he might
He filled up my phone, filled my head, filled my arms
Said "drink it all down, girl, and trust in my charms"

And I fell, how I fell, like the ground gave away
He said "no one but me's gonna want you to stay"

He said "it never happened, it's all in your head"
He said "you're too dramatic — forget what I said"
He called me confused, crazy and insane
And he made it my fault every time I would say his name

Then the roses he gave me turned to silence and ice
He said nothing I did was ever gonna suffice
And the moment I cried, he would flip the whole scene —
said "look what you've done to me, look how cruel you've been"

He cried "I'm the one bleeding, I'm the one in pain"
Said I should be on my knees, begging him to remain

He said "it never happened, it's all in your head"
He said "you're too dramatic — forget what I said"
He called me confused, crazy and insane
And he made it my fault every time I would say his name

I was wandering blind in the fog of his lies
Calling it love while he hollowed me dry
But the fog's lifting now and I finally see —
the only thing crazy was the girl he convinced me to be

So here's the truth, and I'll say it slow:
It happened. I remember. And now I know.

He said it never happened, that it lived in my head
But I struck a match in the dark, lit it up instead
He called me crazy, weak and his to tame —
now I see him in the light, and he's the one to blame

I see him in the light now
and the light is gonna stay
I see him in the light now —
and I'm the one who walks away

10 Wrath

There's a fire in my chest and it's burning me alive
The pyre of vengeance I swallowed to survive
Every spark of buried rage, every scream I never let go
Now it's roaring up inside me and it's ready to blow

Like the sea against the rock, crashing harder every wave
Foaming, raging, breaking — this won't go to the grave

If I couldn't take my vengeance while the blood ran through my veins
Then death will be my vengeance, death will break these chains
Burn the pyre, let it rise, let the whole world hear me roar
I'll be coming back for blood — wrath forevermore!

You think the silence means I broke, that I bowed and walked away
But the quiet was the fuse and now there's hell to pay
I climbed my own calvary with the nails still in my hands
Like a god of broken men, I will make the cowards understand

Like the sea against the rock, crashing harder every wave
Foaming, raging, breaking — this won't go to the grave

If I couldn't take my vengeance while the blood ran through my veins
Then death will be my vengeance, death will break these chains
Burn the pyre, let it rise, let the whole world hear me roar
I'll be coming back for blood — wrath forevermore!

Concentrated, suffocated, every year I held it in
Now the dam is breaking open and the reckoning begins
You can bury me, you can break me, you can lay me in the cold —
But the fire that you started, it will never, ever fold

I won't go quiet.
I won't forgive.
The grave's not the end —
it's where the vengeance lives.

If I couldn't take my vengeance while the blood ran through my veins
Then death will be my vengeance, death will break these chains
Burn the pyre, let it rise, let the whole world hear me roar
I'll be coming back for blood — wrath forevermore!

(Wrath forevermore... wrath forevermore...)
Death will be my vengeance — wrath forevermore!

Original compositions in English, inspired by public-domain poetry. Nothing is a translation. Lyrics and production by George Coelho.Composições originais em inglês, inspiradas em poesia de domínio público. Nada é tradução. Letras e produção de George Coelho.

VIRTUES album artwork: a worn record sleeve in deep night blue, scattered with constellations. A rosette of ten lantern-lit panels holds one symbol for each virtue — a rose, a candle, an oil lamp, a set of scales, a plumb line, a coffee cup, a carpenter's plane — with a crescent moon glowing at the centre and a vinyl disc emerging from the sleeve at the right.

Transmission 2Transmissão 2 2026

VIRTUES

Ten virtues answering the ten sins of SIN, one for one. No sermon and no saints: each song hands its lesson to a stranger — a waitress, a carpenter, a man sitting on a wet curb.Dez virtudes respondendo aos dez pecados de SIN, uma a uma. Sem sermão e sem santos: cada canção entrega sua lição a um desconhecido — uma garçonete, um carpinteiro, um homem sentado num meio-fio molhado.

Every virtue arrives through an encounter with an ordinary person who teaches by example.Cada virtude chega por um encontro com uma pessoa comum que ensina pelo exemplo.

SoundSom
Southern rock, roots rock, americana
LyricsLetras
Entirely original compositions, with no adaptation of poetry.Composições integralmente autorais, sem adaptação de poesia.
For fans ofPara quem gosta de
Seventies southern rock, blues rock, roots concept albumsSouthern rock dos anos 70, blues rock, álbuns conceituais de raiz

  1. Play Honesty on SpotifyOuvir Honesty no Spotify 01

    Honesty Lead vocal: Vocal principal: Orion

    AnswersResponde a Manipulation

    One upright out of the level line, in a wall the plaster would have hidden forever. The carpenter pulls the nails out, one by one, and says four words: the house will know.Um montante fora do prumo, numa parede que o reboco teria escondido para sempre. O carpinteiro arranca os pregos, um a um, e diz quatro palavras: a casa vai saber.

  2. Play Diligence on SpotifyOuvir Diligence no Spotify 02

    Diligence Lead vocal: Vocal principal: Mizuki

    AnswersResponde a Sloth

    Rain, a shut book, a fan turning overhead — and a rasp keeping time across the lane. A craftsman shaping a maple neck who won’t go home because it isn’t straight yet. No clock beaten, no race won. Just a thing that did not exist that morning.Chuva, um livro fechado, um ventilador girando no teto — e uma lima marcando o tempo do outro lado da rua. Um artesão moldando um braço de bordo que não vai para casa porque ainda não está reto. Nenhum relógio vencido, nenhuma corrida ganha. Apenas uma coisa que não existia naquela manhã.

  3. Play Gratitude on SpotifyOuvir Gratitude no Spotify 03

    Gratitude Lead vocal: Vocal principal: Rigel

    AnswersResponde a Envy

    A man on a bench on a grey Tuesday, counting everything he doesn’t have. Across the street, someone is watering a single yellow rose growing out of cracked city concrete. Nothing gets fixed. Everything is different.Um homem num banco numa terça-feira cinzenta, contando tudo o que não tem. Do outro lado da rua, alguém rega uma única rosa amarela que cresce numa rachadura do concreto. Nada se resolve. Tudo fica diferente.

  4. Play Patience on SpotifyOuvir Patience no Spotify 04

    Patience Lead vocal: Vocal principal: Nova

    AnswersResponde a Wrath

    A harbour under a storm. A deckhand splits a spar and hurls his wrench across the yard. The old man sets it down by his feet and goes back to stitching. Not weakness — rage with a hand on its collar.Um porto sob tempestade. Um marinheiro racha uma verga e atira a chave inglesa pelo pátio. O velho a recolhe, deixa-a a seus pés e volta a costurar. Não é fraqueza — é a raiva com uma mão na coleira.

  5. Play Hope on SpotifyOuvir Hope no Spotify 05

    Hope Lead vocal: Vocal principal: Rigel

    AnswersResponde a Cynic

    The power lines are down and a friend is staring at the floor, saying the night is just too long. This isn’t the hope that promises the storm will stop. It admits it won’t — and strikes a match anyway. You don’t defeat the darkness. You just protect the light.Os fios de energia caíram e um amigo encara o chão, dizendo que a noite é longa demais. Esta não é a esperança que promete que a tempestade vai passar. Ela admite que não vai — e acende um fósforo assim mesmo. Não se derrota a escuridão. Só se protege a luz.

  6. Play Devotion on SpotifyOuvir Devotion no Spotify 06

    Devotion Lead vocal: Vocal principal: Orion

    AnswersResponde a Lust

    A man who made a religion of never staying: every door left open, every name gone by morning. Then someone lets him in, and he finds he wants the morning after too — the unmade bed, the honest face, the years that change it. Love is not the heat we start. It’s where the fire learns to stay.Um homem que fez religião de nunca ficar: toda porta deixada aberta, todo nome esquecido antes do amanhecer. Então alguém o deixa entrar, e ele descobre que quer também a manhã seguinte — a cama desfeita, o rosto sem disfarce, os anos que o mudam. Amor não é o calor que acendemos. É onde o fogo aprende a ficar.

  7. Play Generosity on SpotifyOuvir Generosity no Spotify 07

    Generosity Lead vocal: Vocal principal: Stern

    AnswersResponde a Greed

    A waitress crosses a mill man’s ticket off the pad and refuses to be paid back — just bring someone hungry. Years later, a father’s socket set is left wrapped in oilcloth at a young mechanic’s locker.Uma garçonete risca a conta de um operário da fábrica e se recusa a ser reembolsada — é só trazer alguém com fome. Anos depois, o jogo de soquetes de um pai é deixado embrulhado em oleado no armário de um jovem mecânico.

  8. Play Temperance on SpotifyOuvir Temperance no Spotify 08

    Temperance Lead vocal: Vocal principal: Iaci

    AnswersResponde a Gluttony

    A man who came to the feast with a hollow chest and swallowed the world without ever filling it. Then someone breaks bread with weathered hands and tells him to taste where it came from. The grain held the sunlight. A small piece was enough.Um homem que chegou ao banquete com o peito oco e engoliu o mundo sem nunca preenchê-lo. Então alguém parte o pão com mãos gastas e lhe diz para sentir o gosto de onde ele veio. O grão guardava a luz do sol. Um pedaço pequeno bastou.

  9. Play Humility on SpotifyOuvir Humility no Spotify 09

    Humility Lead vocal: Vocal principal: Stern

    AnswersResponde a Hubris

    A tower built stone by stone, applause worn like polished gold, until a wind without a name tears the banners from the frame. On his knees with nothing left to defend, braced for the laughter — and a stranger says his name instead. The rigid branch is first to break. The river bends and gets there anyway.Uma torre erguida pedra por pedra, o aplauso usado como ouro polido, até que um vento sem nome arranca as bandeiras da estrutura. De joelhos, sem nada a defender, à espera do riso — e um desconhecido diz o seu nome. O galho rígido é o primeiro a quebrar. O rio se curva e chega assim mesmo.

  10. Play Compassion on SpotifyOuvir Compassion no Spotify 10

    Compassion Lead vocal: Vocal principal: Iaci

    AnswersResponde a Indifference

    Rain, a shuttered pharmacy, a folded man the whole city walks past. Two coffees and a shared curb later, he’s the one saying take care — as if you were the one in trouble. No grand design, no debt to claim. Just stay long enough to know their name.Chuva, uma farmácia fechada, um homem encolhido por quem a cidade inteira passa. Dois cafés e um meio-fio dividido depois, é ele quem diz se cuida — como se você é que estivesse em apuros. Nenhum grande plano, nenhuma dívida a cobrar. Apenas ficar tempo suficiente para saber o nome dele.

Inner sleeveEncarte Transmission 2Transmissão 2

VIRTUES

As letras permanecem no inglês original. Traduzi-las mudaria a música.

01 Honesty

I took a job in August heat
Beside an older carpenter
We raised a frame of ash and pine
One upright missed the level line
The plaster soon would hide the fault
I said, "No eye will ever know"
He pulled the nails out, one by one
"The house will know," was all he said

He watched the bubble find the mark
Then drove the timber plumb and square

The truth is what the weight rests on
When praise and punishment are gone
A crooked line won't carry long
The truth is what the weight rests on

Years later, closing out a job
I found one figure entered twice
The error leaned toward my side
No one had caught it, no one knew
I heard that hammer pull the nails
And saw that post behind the wall
I crossed the number, made the call
Then slept without rehearsing lies

No bell was rung, no praise was due
The final total stood there true

The truth is what the weight rests on
When praise and punishment are gone
A crooked line won't carry long
The truth is what the weight rests on

The first small tilt becomes the frame
A borrowed hour, a hidden name
The place in line we choose to steal
The softer lie that seals a deal
What starts too small to draw the eye
Can teach a whole town how to lie

The truth is what the weight rests on
When praise and punishment are gone
A crooked line won't carry long
The truth is what the weight rests on
No witness needed, no reward
No fear of hell, no gilded door
A world worth trusting carries on
By what we build when eyes are gone

The plaster hid the truest part
No plaque preserved the builder's name
The house still stands when names are gone
The truth is what the weight rests on

02 Diligence

The rain had pinned me to the room
My books lay shut beside the bed
The hours pooled beneath the fan
And every thought went soft and dead
Then from the shop across the lane
A rasp kept time against the grain
A craftsman shaped a maple neck
While cedar curled around his shoes

I asked him why he stayed so late
He shrugged, "The neck is not quite straight"

Make a thing that keeps your time
Fit the joint and draw the line
Let the wood and wire align
Make a thing that keeps your time

He slid a cedar blank my way
And set the plane beside the vise
The first pass tore across the grain
He turned the blade a hair, precise
"No use in forcing stubborn wood"
He said, then went back to his own
I found the angle, tried again
And heard the roughness change its tone

The rain grew soft against the pane
The plane sang steady through the grain

Make a thing that keeps your time
Fit the joint and draw the line
Let the wood and wire align
Make a thing that keeps your time

I took a cedar scrap back home
And found the tools my father owned
The cut ran wide, the joint sat proud
I shaved it back and tried once more
By midnight, one small box stood square
I laughed because it now was there

Make a thing that keeps your time
Fit the joint and draw the line
Let the wood and wire align
Make a thing that keeps your time
No clock was beaten, no race won
No score was kept when it was done
The pleasure lived in every line
A little proof the time was mine

The rain still fell across the town
The old shop pulled its shutters down
My books lay open by the bed
And cedar lingered in the room

03 Gratitude

I was counting up the things I didn't have
Carrying a heavy heart in a paper bag
The train was late, the sky was painted grey
Just another tired soul on a Tuesday
I sat down on a bench to catch my breath
Feeling like the spark in me had left

And it hit me slow, like a break in the grey —
I don't need it all, I just need today

But gratitude's a quiet kind of grace
Doesn't need a fortune, or a perfect place
It's the gold inside the cracks of broken things
The sudden joy that living, breathing brings
When you stop chasing what you think you're owed
You'll find the beauty on a dusty road

Then I saw an old man by a patch of dirt
With calloused hands and a faded shirt
He was watering a single yellow rose
Right where the cracked city concrete grows
He looked at me, gave a weathered smile
Said, "I've buried more than this — still worth my while"

And it hit me slow, like a break in the grey —
I don't need it all, I just need today

'Cause gratitude's a quiet kind of grace
Doesn't need a fortune, or a perfect place
It's the gold inside the cracks of broken things
The sudden joy that living, breathing brings
When you stop chasing what you think you're owed
You'll find the beauty on a dusty road

I took a deep breath of the cold morning air
I finally had enough — and I'm still here
My lungs are full, this stubborn heart is strong
I was looking at the whole picture wrong

'Cause gratitude's a quiet kind of grace
Doesn't need a fortune, or a perfect place
It's the gold inside the cracks of broken things
The sudden joy that living, breathing brings
When you stop chasing what you think you're owed
You'll find the beauty on a dusty road

So I whispered "thank you" to the open street
For the steady ground beneath my feet
Yeah, the yellow rose, the simple truth
Just a change of heart, a changing view

04 Patience

Rope on timber, rain on tin
The tide rolls out, then comes again

I came down shaking from the fight
With every word I meant to fight
The harbor hammered at the pier
An old man stitched beneath the eaves
The wind kept snapping at his coat
Saltwater climbed around his boots
He drew each knot and checked it twice
While thunder rolled beyond the boats

I asked him when he'd leave the pier
"The tide keeps its own time," he said

Wait for the water to run clear
Let the hidden stones appear
Rage is loudest next to fear
Wait for the water to run clear

I watched him mend what waves had torn
No wasted curse, no oath was sworn
A deckhand split a cedar spar
Then hurled his wrench across the yard
The old man set it by his feet
And worked the fracture smooth and clean
He passed the needle, nodded once
I took the cord and matched his hold

By dusk, the timber held its weight
My pulse no longer set the pace

Wait for the water to run clear
Let the hidden stones appear
Rage is loudest next to fear
Wait for the water to run clear

The sea kept striking at the stone
Then gathered back what it had thrown
No victory rang across the bay
The water wore the edges gray
I felt the answer in my throat
Then let it sink before I spoke

Wait for the water to run clear
Let the hidden stones appear
Rage is loudest next to fear
Wait for the water to run clear
Let the first hard answer wait
Let the second test its weight
When the angry pulse burns low
That is the moment you let go

The tide went out beyond the pier
The rope lay coiled, the harbor bare
He closed his knife and walked away
I kept the words I came to say

05 Hope

The storm was howling heavy, the power lines went down
A wall of dark came sweeping in and swallowed up the town
I sat beside a good friend, who was staring at the floor
Wondering if the sun would ever shine here anymore
He said the world feels heavy, and the night is just too long
I struck a match and told him, that's exactly where he's wrong

'Cause I have learned it the hard way, through every bitter night —
You don't defeat the darkness, you just protect the light

'Cause hope is just a candle when you cannot see the sun
It's the promise of the morning when the longest night is done
It's a tiny spark of silver in a sky of heavy grey
Just hold on a little longer, the light is on its way

We watched that little golden flare dancing in the air
It cast a ring of safety against the cold despair
I've known the kind of silence that can talk a man to stone
The voice that counts your losses and says you're better off alone
It doesn't make the storm stop, or make the thunder fade
But it gives you strength to stand your ground, and not be so afraid

'Cause I have learned it the hard way, through every bitter night —
You don't defeat the darkness, you just protect the light

'Cause hope is just a candle when you cannot see the sun
It's the promise of the morning when the longest night is done
It's a tiny spark of silver in a sky of heavy grey
Just hold on a little longer, the light is on its way

Then the rain began to quiet, the wind began to slow
We looked out through the window at the sleeping street below
And breaking through the heavy clouds, a streak of morning blue
The dawn came up to prove that ancient promise true

'Cause hope is just a candle when you cannot see the sun
It's the promise of the morning when the longest night is done
It's a tiny spark of silver in a sky of heavy grey
Just hold on a little longer, the light is on its way

The light is on its way
It always finds a way
Morning breaks the night
Just hold on to the light

06 Devotion

I knew the language of the skin
The spark that flares and rushes in
A hunger dressed in borrowed light
That disappeared before the night
I loved the thrill, but missed the face
I held the heat, but not the grace
Then you drew near, and let me in
To see the soul beneath the skin

You were no prize for me to claim
You were a soul, a life, a name

Let the fire learn to stay
Not the spark that burns away
Not a flame that fears the day —
This is where the fire stays

I want the morning after too
The unmade bed, the honest you
The days when words are hard to find
The weight you carry in your mind
I want the years that change your face
The slower step, the softer pace
To touch you still with steady hands
And stay through all that time demands

Desire can hold you through the night
And I can choose you in morning light

Let the fire learn to stay
Not the spark that burns away
Not a flame that fears the day —
This is where the fire stays

Lust only asks, "What can I take?"
Love asks, "What can we create?"
The body does not lose its flame
When tenderness can speak its name
Not less alive, not less intense
Just free from needing to possess
The deepest touch is not control
It is the body meeting soul

Let the fire learn to stay
Not the spark that burns away
Not a flame that fears the day —
This is where the fire stays
I choose the truth behind your name
I choose the years, I choose the change
I choose your body, mind, and heart
This is where the fire stays

Let the wanting turn to trust
Let the fire outlive the rush
I don't need to make you mine
I will meet you, every time
Where the fire learns to stay

07 Generosity

At Miller's Grill off County Nine
The noon heat pressed against the blinds
An older waitress worked the room
With silver hair and scuffed-up shoes
A mill man searched his empty coat
Then pushed away his coffee cold
She crossed his ticket with her pen
And set the biscuits down again

He said, "I'll settle up next week"
"Just bring someone hungry," she said

Give it freely, keep no score
Set another place for one more
No debt comes knocking at the door
Give it freely, keep no score

Years later, clearing out the shed
I found my father's socket set
A young kid at the service bay
Worked with borrowed tools all day
I wrapped the steel in old oilcloth
And left it by his locker door
He caught me halfway down the row
"They're meant for work. That's all," I said

The old steel rang against the tray
And found another working day

Give it freely, keep no score
Set another place for one more
No debt comes knocking at the door
Give it freely, keep no score

Coins turned green inside Dad's jar
Bread went hard behind the glass
But steel rang out beneath a hood
And biscuits vanished while still warm
No trumpet marked what passed between
Just useful things kept moving on

Give it freely, keep no score
Set another place for one more
No debt comes knocking at the door
Give it freely, keep no score
Let the old steel ring once more
Let the full plate cross the floor
What was guarded leaves no trace
What was given finds a place

The grill went dark on County Nine
The till was closed, the chairs aligned
One unpaid meal, one set of tools
Still moving on through other rooms

08 Temperance

I came to the feast with a hollow chest
I swallowed the gold, but I found no rest
Desire kept moving its old finish line
The more I consumed, the less I could feel
I fed every wound, but none of them healed
Then a friend said, "Slow down and breathe —
Not every hunger is yours to feed"

The sweetest fruit is the one you taste
Not ten more swallowed in haste

There's grace in the hand that can wait
There's peace when you close the gate
No need for the whole wide world in my cup
I can taste what is here — and call it enough

He broke me some bread with his weathered hands
Said, "Taste where it came from; remember the land"
I closed both my eyes, let the moment grow still
And listened beneath my own will
The grain held the sunlight, the salt held the sea
A small, simple piece felt complete within me
No thunder, no vision, no heavenly sign
Just one quiet moment that finally felt mine

The sweetest fruit is the one you taste
Not ten more swallowed in haste

There's grace in the hand that can wait
There's peace when you close the gate
No need for the whole wide world in my cup
I can taste what is here — and call it enough

The hunger still whispers, "A little bit more"
It waits like a shadow outside of the door
It promises comfort, then steals it away
And asks for the same thing the following day
But I've learned that freedom can start with a pause
A breath between wanting and serving its cause
I may feel the emptiness rise from below
But feeling a hunger
Does not mean I must go

There's grace in the strength to leave something behind
There's peace in knowing what's mine
No need for the whole wide world in my cup
I can taste what is here — and call it enough

Let the moment remain
Let the hunger pass through
Without giving the word
I have carried enough
I am here, I am whole, I am enough

09 Humility

I built my name against the sky
Stone after stone, I climbed too high
I wore applause like polished gold
Believing praise could make me whole
I passed the faces in the street
Too proud to feel the ground beneath
I thought the summit proved my worth
And lost the names that raised me first

No one can live above the rest
No throne can grant a heart its rest

The heart stands tall when pride lets go
The truest crown we'll ever know
Let the walls give way, let the strong bend low —
The heart stands tall when pride lets go

Then came a wind without a name
It tore the banners from the frame
The tower bent, the gold turned gray
And all I worshiped fell away
I met the earth on both my knees
With no one left I had to please
I braced for laughter, scorn, and blame
But one calm voice just spoke my name

He held no throne, he made no claim
He knew the fall, he knew the shame

The heart stands tall when pride lets go
The truest crown we'll ever know
Let the walls give way, let the strong bend low —
The heart stands tall when pride lets go

The rigid branch is first to break
The river bends and finds its way
The sea receives a thousand streams
And never asks what each one brings
I left my armor in the sand
And learned to stand with empty hands
Not less alive, not less complete
Just close enough to hear them speak

The heart stands tall when pride lets go
The truest crown we'll ever know
But open hands can make us rise
And grace begins where walls give way
It listens more than words can say —
The heart stands tall when pride lets go

No need for thunder, rank, or praise
To know the measure of our place
With steady feet and open eyes
The heart stands tall when pride lets go

10 Compassion

The traffic smeared across the glass
The wet lanes hummed and let me pass
I kept my collar to the rain
And every face I passed the same
Beside a shuttered pharmacy
A folded man I didn't see
His shoes had opened at the toe
The city never broke its flow

I almost passed him, almost gone
Then heard him cough the cold night on

So stay — stay long enough to know their name
Let someone walk out of the rain
No saving grace, no debt to claim
Just stay long enough to know their name

I bought two coffees, black and cheap
And took the curb beside his sleep
He moved his blanket, made a chair
Said, "Cold don't ask you if it's fair"
We talked in pieces, not in whole
His sister's town, my father's toll
He told his name, I told him mine
Two strangers holding back the time

No promise made, no debt was owed
We stayed until the coffee cold

So stay — stay long enough to know their name
Let someone walk out of the rain
No saving grace, no debt to claim
Just stay long enough to know their name

No choir rose above the street
No angel came, no drums, no beat
His cup stayed warm against his knee
My coat hung loose where his should be
And as I stood to leave the rain
He said, "Take care" — he said my name

So stay — stay long enough to know their name
Let someone walk out of the rain
Stay long enough to hear a life
Beneath the noise, beneath the strain
No saving grace, no debt to claim
Just stay long enough to know their name

The buses pulled away in rows
He called my name before I rose
The rain kept working at the stone
I walked at human speed, back home

Entirely original compositions, with no adaptation of poetry. Lyrics and production by George Coelho.Composições integralmente autorais, sem adaptação de poesia. Letras e produção de George Coelho.

HERE LIES album artwork: a worn record sleeve, almost black, with the amber-edged MooN wordmark at the top left. A man in a long coat stands with his head bowed before a headstone in a night cemetery, flat grave markers scattered through the grass around him and a single small light burning at the foot of the stone. A large crescent moon hangs in the upper right, and a vinyl disc emerges from the sleeve at the right.

Transmission 3Transmissão 3 2026

HERE LIES

A twelve-track concept album. A land surveyor leaves work and doesn’t go home. He drinks. Then he walks into a cemetery in downstate Illinois, and the names on the stones start talking back.Um álbum conceitual de doze faixas. Um agrimensor sai do trabalho e não vai para casa. Bebe. Depois entra num cemitério no interior de Illinois, e os nomes nas lápides começam a responder.

Ten of the dead speak, one per track, framed at each end by the man who came in through the gate. Nobody asks for forgiveness and nobody gets a verdict.Dez dos mortos falam, um por faixa, emoldurados nas duas pontas pelo homem que entrou pelo portão. Ninguém pede perdão e ninguém recebe veredito.

SoundSom
Southern blues rock with the acoustic grain of the rural MidwestSouthern blues rock com a textura acústica do Meio-Oeste rural
LyricsLetras
Original compositions in English, inspired by public-domain poetry. Nothing is a translation.Composições originais em inglês, inspiradas em poesia de domínio público. Nada é tradução.
For fans ofPara quem gosta de
Southern blues rock, americana, narrative concept albumsSouthern blues rock, americana, álbuns conceituais narrativos

  1. Play Right-of-Way on SpotifyOuvir Right-of-Way no Spotify 01

    Right-of-Way Lead vocal: Vocal principal: Stern

    He spent the afternoon digging a limestone marker out of a fence line, set by a surveyor a century before him. He stopped for one and stayed for three. The gate at Oak Hill stood open, and he matched a number on a leaflet to a name.Passou a tarde desenterrando um marco de calcário numa linha de cerca, fincado por um agrimensor um século antes dele. Parou para tomar uma e ficou para tomar três. O portão de Oak Hill estava aberto, e ele ligou um número num panfleto a um nome.

  2. Play Here Lies: Fiddler Jones on SpotifyOuvir Here Lies: Fiddler Jones no Spotify 02

    Here Lies: Fiddler Jones Lead vocal: Vocal principal: Orion

    Forty acres and never a plough in the ground. He heard a fiddle every time the wind moved through the corn, and he answered it. He died with nothing owed and nothing saved.Quarenta acres e nunca um arado na terra. Ouvia uma rabeca cada vez que o vento passava pelo milharal, e respondia a ela. Morreu sem dever nada e sem guardar nada.

  3. Play Here Lies: Cooney Potter on SpotifyOuvir Here Lies: Cooney Potter no Spotify 03

    Here Lies: Cooney Potter Lead vocal: Vocal principal: Rigel

    A thousand acres bought a field at a time, and a stomach ruined getting there. He wanted two thousand. He ate standing up, in the sun, and it killed him at sixty.Mil acres comprados um campo por vez, e um estômago arruinado no caminho. Queria dois mil. Comia de pé, no sol, e isso o matou aos sessenta.

  4. Play Here Lies: Serepta Mason on SpotifyOuvir Here Lies: Serepta Mason no Spotify 04

    Here Lies: Serepta Mason Lead vocal: Vocal principal: Nova

    The town judged her by the side of the plant that faced the road. The other side, the one that flowered, grew where nobody thought to look.A cidade a julgou pelo lado da planta que dava para a estrada. O outro lado, o que floria, crescia onde ninguém pensou em olhar.

  5. Play Here Lies: Lambert Hutchins on SpotifyOuvir Here Lies: Lambert Hutchins no Spotify 05

    Here Lies: Lambert Hutchins Lead vocal: Vocal principal: Rigel

    Two mansions and a name on the bank. He built the house to launch his daughters into the world and ended up with one of them locked inside it, still there when he died.Duas mansões e um nome no banco. Construiu a casa para lançar as filhas ao mundo e acabou com uma delas trancada lá dentro, ainda lá quando ele morreu.

  6. Play Here Lies: Abel Melveny on SpotifyOuvir Here Lies: Abel Melveny no Spotify 06

    Here Lies: Abel Melveny Lead vocal: Vocal principal: Orion

    Every machine a farm could want, bought new and left in the yard. Rust took most of them before they turned a wheel. He saw himself in the last one and understood too late.Toda máquina que uma fazenda podia querer, comprada nova e largada no pátio. A ferrugem levou quase todas antes que girassem uma roda. Ele se viu na última e entendeu tarde demais.

  7. Play Here Lies: Mrs. Purkapile on SpotifyOuvir Here Lies: Mrs. Purkapile no Spotify 07

    Here Lies: Mrs. Purkapile Lead vocal: Vocal principal: Iaci

    He came back and she stayed. Not for love, and not for fear of what people would say. She made a promise once, in front of witnesses, and she was not going to be the one who broke it.Ele voltou e ela ficou. Não por amor, nem por medo do que iam dizer. Ela fez uma promessa uma vez, diante de testemunhas, e não seria ela a quebrá-la.

  8. Play Here Lies: Roscoe Purkapile on SpotifyOuvir Here Lies: Roscoe Purkapile no Spotify 08

    Here Lies: Roscoe Purkapile Lead vocal: Vocal principal: Rigel

    He ran off for a year and came home with a story about pirates. She never asked and never believed it. He called that devotion, and he called it a life sentence, in the same breath.Ele sumiu por um ano e voltou com uma história sobre piratas. Ela nunca perguntou e nunca acreditou. Ele chamava aquilo de devoção, e chamava de prisão perpétua, no mesmo fôlego.

  9. Play Here Lies: Margaret Fuller Slack on SpotifyOuvir Here Lies: Margaret Fuller Slack no Spotify 09

    Here Lies: Margaret Fuller Slack Lead vocal: Vocal principal: Mizuki

    She would have been the novelist of her generation. Eight children, a drugstore husband, and a needle in the thumb over a tub of baby clothes. The chapter never left her head.Teria sido a romancista da sua geração. Oito filhos, um marido dono de farmácia e uma agulha no polegar sobre uma bacia de roupas de bebê. O capítulo nunca saiu da cabeça dela.

  10. Play Here Lies: Josiah Tompkins on SpotifyOuvir Here Lies: Josiah Tompkins no Spotify 10

    Here Lies: Josiah Tompkins Lead vocal: Vocal principal: Orion

    Rich, respected, and sure of every choice he made. The children he raised to inherit it all waited until he was weak and moved him out of his own house.Rico, respeitado e seguro de cada escolha que fez. Os filhos que criou para herdar tudo esperaram que ele ficasse fraco e o tiraram da própria casa.

  11. Play Here Lies: Edmund Pollard on SpotifyOuvir Here Lies: Edmund Pollard no Spotify 11

    Here Lies: Edmund Pollard Lead vocal: Vocal principal: Rigel

    Go all the way in. Take the whole thing. Don’t stand at the edge of your own life with your hat in your hands.Entre até o fim. Pegue tudo. Não fique na beira da própria vida com o chapéu nas mãos.

  12. Play Closing Corner on SpotifyOuvir Closing Corner no Spotify 12

    Closing Corner Lead vocal: Vocal principal: Stern

    He walks back out the way he came, and this time the story watches him from outside. A kitchen light is on. There’s a plate on the table.Ele sai pelo mesmo caminho por onde entrou, e desta vez a história o observa de fora. Há uma luz acesa na cozinha. Há um prato na mesa.

Inner sleeveEncarte Transmission 3Transmissão 3

HERE LIES

As letras permanecem no inglês original. Traduzi-las mudaria a música.

01 Right-of-Way

I spent the afternoon out east
With field notes dated nineteen-eleven.
I dug the limestone monument
Out of the ground, along the fence.
Knocked the sod loose with my boot,
Folded the plat and drove the route.

I stopped for one, it turned to three,
The last beer warming next to me.
She wrote "ok." No name, no more.
I read it four times. Then read four.

Up North Main, past Oak Hill,
Truck out back, the walk alone,
August held inside the stone —
Up North Main, past Oak Hill.

The heat had not let up all day;
I took North Main's right-of-way.
The truck stayed sitting in the lot;
Late August had the whole town hot.
My work shirt soaked from collar through;
Mosquitoes rose from ditch and dew.

Oak Hill starts at the thousand block;
Thirty years I'd passed that plot.
The chain hung loose. I slowed my stride.
The gate stood open. I went inside.

Up North Main, past Oak Hill,
Truck out back, the walk alone,
August held inside the stone —
Up North Main, past Oak Hill.

I put the LED on the face;
A hundred years had moved the base.
The stone stood inches out of plumb;
I read the lettering with my thumb.
An enamel number in the ground,
The gate-box leaflet that I found.
I held it open on the stone
And matched the number to a name.

Up North Main, past Oak Hill,
Truck out back, the walk alone,
August held inside the stone —
Up North Main, past Oak Hill.

Enamel number by the base.
Folded leaflet from the box.
One line beneath my thumb.
Fiddler Jones.

02 Here Lies: Fiddler Jones

County records: farmer Jones,
Forty acres, loam and stones.
Spoon River never used that one —
Fiddler Jones, from sun to sun.

Wind ran cross the standing corn,
I heard dancers past the barn.
Dust spun up along the lane,
I could hear the fiddle plain.
Hoe stayed planted in the clay.
Somebody called. I went to play.

Forty acres, fiddle case,
Wedding dances, supper pay,
Three fence gaps, the barn gone grey —
By my count, it came out square.

Maytime wedding, horse-track run,
Corn-husk supper, work all done.
Church-lawn picnic, schoolhouse fair,
Fourth of July — I played them square.

Corn whiskey, chicken, supper plate,
Two dollars cash when folks had paid.
Sometimes nothing, one more set;
I never marked it down as debt.

Forty acres, fiddle case,
Wedding dances, supper pay,
Three fence gaps, the barn gone grey —
By my count, it came out square.

Planted what would fill the crib,
Rented out the lower strip.
Three fence gaps stayed open wide,
Barn sill sank along one side.

Thistle climbed beside the stair;
I sat and played the fiddle there.
Every supper saved my place,
Every father steered girls clear.

Fiddle split across the neck,
I patched the break and played the set.
Knuckles thick around the bow,
Forty years had left them low.
Then the body simply quit.
That was the whole of it.

Forty acres, fiddle case,
Wedding dances, supper pay,
Three fence gaps, the barn gone grey —
By my count, it came out square.

03 Here Lies: Cooney Potter

My father left me forty clear,
I added ground from year to year.
A neighbor broke; I bought his ground.
A widow sold; I was around.
Church men borrowed, couldn't pay;
Their acreage came my way.
Every deed was signed and filed.
I knew when waiting was worthwhile.

Forty acres, tract by tract,
Every purchase changed the plat.
A thousand acres, black on white;
Two thousand would have sounded right.

My boy and girl worked every day,
No wages paid, no time away.
They left for good. They stayed gone.
I hired nobody. Work went on.

My wife wore out before I did;
One worker less when harvest hit.
The house stayed old, my coat wore thin.
I kept the money buying in.

Forty acres, tract by tract,
Every purchase changed the plat.
A thousand acres, black on white;
Two thousand would have sounded right.

I ate standing by the plow,
Swallowed fast and headed out.
Noon was time I couldn't spare;
I seldom bothered with a chair.

Two full years I watched out east,
The owner older every week.
He'd have to sell. I knew it soon.
I had the cash. I had the room.

Fifty-nine, my stomach quit.
Indigestion. That was it.

Forty acres, tract by tract,
Every purchase changed the plat.
A thousand acres, black on white;
Two thousand would have sounded right.

That tract out east —
I had the cash.

04 Here Lies: Serepta Mason

Spoon River knew my Sunday dress,
My clipped replies, my one-word yes.
Third pew, left side of the aisle,
I heard your jokes. I didn't smile.

Eleven years my father lay,
Apoplexy took half away.
Bedpan, basin, camphor tin,
I turned him when the sores set in.

Spoon River, write down what you saw:
Third pew, tight mouth, winter shawl.
Thirty years, no question came;
Stamp INCOMPLETE beside my name.

At two o'clock I cursed him out,
Then rinsed the basin at the spout.
At Ladies' Aid I poured the tea;
They kept an empty chair by me.

When Father died, I sold the bed,
Set the basin in the shed.
Folks expected I'd turn sweet;
I kept my pace along the street.

Spoon River, write down what you saw:
Third pew, tight mouth, winter shawl.
Thirty years, no question came;
Stamp INCOMPLETE beside my name.

There was more.
That's all.

Spoon River, write down what you saw:
Third pew, tight mouth, winter shawl.
Thirty years, no question came;
Stamp INCOMPLETE beside my name.

Six at Oak Hill, preacher read
Two short verses for the dead.
Sexton leveled out the loam;
By supper everyone was home.

05 Here Lies: Lambert Hutchins

Statehouse years had paid me well,
Spoon River guessed. I didn't tell.
I bought the hill above the town,
Had the survey stakes set down.
Footings cut, the turret framed,
Stained-glass door, the millwork planed.

I built it for my daughters' start:
Oak and slate in every part,
Polished manners, dresses pressed,
Room to seat a Chicago guest.
Yet every whisper crossed the square;
They married quick to leave from there.

Turret slate, stained-glass door,
Porch wrapped round the lower floor.
Paid the roofer, paid the mill;
Spoon River watched me on the hill.

Lillian married, packed her case;
Her husband liked the hill's good face.
He came to see what sum there'd be;
I wrote it out. He looked at me.
He named the spires when they would fight;
She came back home one winter night.

Her trunk stayed underneath the stair,
Her dresses hung in closets there.
She kept the rooms and paid the men,
Closed up the parlor now and then.
Year after year she held the place;
Same bay window, older face.

Turret slate, stained-glass door,
Porch wrapped round the lower floor.
Paid the roofer, paid the mill;
Spoon River watched me on the hill.

Travel passes in my desk,
County dinners, Sunday best.
From the road the slate looked fine;
Every window stayed in line.

Turret slate, stained-glass door,
Porch wrapped round the lower floor.
Paid the roofer, paid the mill;
Spoon River watched me on the hill.

I opened the account book.
Same handwriting.
Thirty years.

06 Here Lies: Abel Melveny

Dealer opened up the book,
I knew exactly where to look.
Marseilles sheller, Peoria drill,
Rock Island plow, a feed mill.
Paid the freight and checked the frame,
Hauled them home the day they came.

Make and model, width and frame,
I knew every make and name.
Paid in cash, no note to sign;
Good iron standing in a line.

Never built a shed out back,
Lined them by the wagon track.
Leather belting dried and split,
Babbitt bearings filled with grit.
Varnish lifted from the grain,
Factory paint thinned in the rain.

Each one made sense buying day:
Good price, good build, cash to pay.
Next year's ground would take it all,
More stock coming by the fall.
One good auction, one good trade —
That was how the row was made.

Make and model, width and frame,
I knew every make and name.
Paid in cash, no note to sign;
Good iron standing in a line.

Some ran once, some stayed brand-new;
Most had little work to do.
Nothing wrong with gear or blade,
Nothing there I overpaid.
I knew sprocket, tooth and bore;
Then the dealer brought one more.

Make and model, width and frame,
I knew every make and name.
Paid in cash, no note to sign;
Good iron standing in a line.

Last days, chair beside the pane,
One feed mill stood beyond the lane.
Drive pulley clean of any wear,
Bare wood showing everywhere.
Leather belt gone hard as glass,
Crank locked fast above the grass.

07 Here Lies: Mrs. Purkapile

One full year gone, then Roscoe came,
Van Buren pirates took the blame.
A rowboat on Lake Michigan,
Twelve months away, or so he claimed.

No letter home, or so I heard,
I cried and kissed him at the door.
Cruel, outrageous — every word,
Then set his place there as before.

Both our names remained the same,
Pirates kept him far away,
I set his supper there that day,
Both our names remained the same.

The milliner caught the morning train,
Mrs. Williams bought felt and braid.
Roscoe traveled there now and then;
I knew each trip that he had made.

At Sunday table, Roscoe's chair,
His knife and fork upon the lace.
Our names shared one church-roll line;
The county docket showed no case.

Both our names remained the same,
Pirates kept him far away,
I set his supper there that day,
Both our names remained the same.

The years went by at one address,
The mailbox carried Roscoe's name.
Front room curtains, Sunday dress,
Roscoe grew old; I stayed the same.

Both our names remained the same,
Pirates kept him far away,
I set his supper there that day,
Both our names remained the same.

Two coats behind the kitchen door.

08 Here Lies: Roscoe Purkapile

She loved me from the day we met.
I thought she'd tire. I could wait.
Five years, ten; no papers came,
And every night she set my plate.

I left one spring and stayed a year,
A lark, a room, some work in town.
Nobody knew my name up there,
And no one wrote my absence down.

She said I'd come home one day,
Pirates took a year away,
Cruel, outrageous, she'd say,
She said I'd come home one day.

I heard she told them I'd come home,
That Spoon River needn't fret.
I bought the fare one Friday night,
And took the first train I could get.

I rowed off Van Buren Street,
They pulled me down into the hold.
Twelve months went by without a word;
That was the story that I told.

She cried; she kissed me at the door.
Cruel. Outrageous. What a year.
Our Sunday pew was ours again.
That was all I had to hear.

She said I'd come home one day,
Pirates took a year away,
Cruel, outrageous, she'd say,
She said I'd come home one day.

I called it Providence from then,
And never questioned it again.
The county record stayed in place.
Death confirmed the case.

09 Here Lies: Margaret Fuller Slack

I pictured mine beside Eliot's;
Mine stayed off the printed page.
Penniwit prepared the plate;
Gray eyes, serious for my age.

Blank foolscap lay beside my pen.
I counted years inside my head.
I could have used those years to write.
Then John Slack came instead.

Penniwit's lens caught me that day,
Gray eyes fixed beyond the frame.
Chin on knuckles, I held the pose.
George Eliot had made her name.

John Slack ran the drugstore well,
Scales and powders, steady trade.
He said the drugstore bought me time.
I said yes. The plans were made.

Eight children filled the house by then,
Washboard, wringer, mending thread.
My desk stayed underneath the sill;
No chapter ever left my head.

Penniwit's lens caught me that day,
Gray eyes fixed beyond the frame.
Chin on knuckles, I held the pose.
George Eliot had made her name.

Baby clothes soaked in the tub,
Wringer rollers, worn and thin.
I lifted one wet little shirt;
A needle went beneath my skin.

10 Here Lies: Josiah Tompkins

Spoon River knew me by the square,
My name was lettered on the glass.
I kept the ledger forty years;
I knew who owed and who paid cash.

The older children left in turn,
Their trunks went out and rode away.
The youngest stayed to help us both,
And kept the counter every day.

Forty years around the square,
Ledger balanced at the store,
Customers came through the door,
Forty years around the square.

At first he carried boxes in,
Then took the orders from the trade.
My pencil slowed; his columns grew,
We argued over what he paid.

His wife began to price the stock,
She said I held the business back.
My wife agreed with them at last;
The china and the books were packed.

Forty years around the square,
Ledger balanced at the store,
Customers came through the door,
Forty years around the square.

The auction bill went on the pane,
The house key stayed behind me there.
The crates went west to her old town;
Missouri had a room to spare.

My son drew up the will himself,
Two witnesses were there to sign.
I wrote my name beneath the clause.
The clerk read out the bottom line.

Seventy-four dollars, twelve cents.

11 Here Lies: Edmund Pollard

I kept to clover's outer row,
Pollen yellowed both my coat sleeves.
Bees worked deeper in the blooms;
I knew the edge. I chose the leaves.

You there—Spoon River on your shoes,
There's an empty chair and plate.
Pull it out and sit right down;
No one checks your name at the gate.

Come in hungry, take your seat,
Let the gravy boat come through.
Take a second helping now.
Come in hungry. I mean you.

There's a room above the bar,
Brass key waiting by the stair.
If she asks you not to leave,
Leave your jacket on the chair.

Come in hungry, take your seat,
Let the gravy boat come through.
Take a second helping now.
Come in hungry. I mean you.

Read the date beneath my name.

Come in hungry, take your seat,
Let the gravy boat come through.
Take a second helping now.
Come in hungry. I mean you.

12 Closing Corner

The gate stayed open at his back,
North Main lay empty in the heat.
The thousand block had gone quiet;
His boots kept time along the street.

The leaflet creased inside his pocket,
Lichen dried beneath his nail.
His shirt had dried and soaked again,
A mailbox held the evening mail.

North Main, three blocks from home,
Heat stayed caught in brick and stone,
No traffic passed; he walked alone,
North Main, three blocks from home.

His field book stayed inside the truck,
A dog barked once behind a door.
His phone died in his shirt pocket,
North Main ran on one block more.

North Main, one block from home,
Heat stayed caught in brick and stone,
No traffic passed; he walked alone,
North Main, one block from home.

The screen door clicked behind him shut,
He turned the key inside the lock.
He set the leaflet by the keys,
Two-oh-eight showed on the clock.
The kitchen light above the sink.
One white plate sat on the table.

Original compositions in English, inspired by public-domain poetry. Nothing is a translation. Lyrics and production by George Coelho.Composições originais em inglês, inspiradas em poesia de domínio público. Nada é tradução. Letras e produção de George Coelho.

GROOVE album artwork: a worn record sleeve, almost black, with the amber MooN wordmark at the top centre. At its middle a spiral groove, carved like scorched rock, turns inward, with veins of orange ember running along the ridges and cracks spreading out to the edges. A small amber crescent moon glows at the centre of the spiral, where the spindle hole would be, and a vinyl disc emerges from the sleeve at the right.

Transmission 4Transmissão 4 2026

GROOVE

Six musicians, one room, six instruments. Everything MooN has to say here goes through strings, skins, brass and valves.Seis músicos, uma sala, seis instrumentos. Tudo o que a MooN tem a dizer aqui passa pelas cordas, pelas peles, pelo metal e pela válvula.

What changes from track to track isn’t the band — it’s who’s in charge of it. Once the bass. Once the harmonica. Once the organ alone at the open. Two guitars going at each other. And at the end, nobody: the six of them in the same groove, playing the same thing.O que muda de faixa para faixa não é a banda — é quem manda nela. Uma vez o baixo. Uma vez a gaita. Uma vez o órgão sozinho na abertura. Duas guitarras se enfrentando. E, no fim, ninguém: os seis no mesmo sulco, tocando a mesma coisa.

SoundSom
Heavy psychedelic blues rock, instrumental. Bass up front, physical drums, analog grain, contemporary punch.Blues rock pesado e psicodélico, instrumental. Baixo à frente, bateria física, grão analógico e impacto contemporâneo.
The bandBanda
Drums, bass, two guitars, Hammond and harmonica. Six voices, no vocals.Bateria, baixo, duas guitarras, Hammond e gaita. Seis vozes, nenhum vocal.
For listeners who likePara quem gosta de
Short riffs, syncopated grooves, psychedelia that never turns into a jam.Riff curto, groove sincopado, psicodelia que não vira jam.

  1. Play Hypnotic on SpotifyOuvir Hypnotic no Spotify 01

    Hypnotic Duration: Duração: 3:53

    A figure comes back. Comes back again. Somewhere around the fourth time you stop counting, and the repetition stops being repetition — it becomes the room the music lives in. Nothing is added that wasn’t already there. It only goes deeper.Um motivo volta. Volta outra vez. Na quarta ou quinta vez você para de contar, e a repetição deixa de ser repetição — vira o lugar onde a música mora. Nada é acrescentado que já não estivesse lá. Só fica mais fundo.

  2. Play Syncopated on SpotifyOuvir Syncopated no Spotify 02

    Syncopated Duration: Duração: 1:55

    The accent lands in the wrong place and the music keeps walking. Two guitars shove the beat sideways; bass and drums decide that was the road all along. Shortest track here, and the one that teaches you how to hear the rest.O acento cai onde não devia e a música continua andando. Duas guitarras empurram o tempo para o lado; baixo e bateria decidem que aquilo era o caminho. Faixa mais curta do disco, e a que ensina a ouvir todas as outras.

  3. Play Psychedelic on SpotifyOuvir Psychedelic no Spotify 03

    Psychedelic Duration: Duração: 3:30

    The floor holds. The edges don’t. The pulse keeps its half-time grip while everything around it loses its outline — echo, warped tone, things that were sharp and aren’t anymore. Same track from start to finish. You’re the one who moved.O chão não se mexe. As bordas, sim. O pulso segura em meio-tempo enquanto o resto perde contorno — eco, timbre deformado, coisas que eram nítidas e já não são. É a mesma faixa do começo ao fim. Você é que não está mais no mesmo lugar.

  4. Play Howling on SpotifyOuvir Howling no Spotify 04

    Howling Duration: Duração: 4:10

    The harmonica sings over the riff. Guitars and bass lay the ground and stay there; it comes in on top, amplified until it turns into an electric voice, and carries the whole track. Longest track here, and the one that needs the least explaining.A gaita canta em cima do riff. Guitarras e baixo montam a base e não saem de lá; ela entra por cima, amplificada até virar voz elétrica, e conduz a música inteira. Faixa mais longa do disco, e a que menos precisa de explicação.

  5. Play Pulsating on SpotifyOuvir Pulsating no Spotify 05

    Pulsating Duration: Duração: 3:17

    The bass isn’t following anyone. It opens with the riff, keeps the riff, and the rest of the band breathes on whatever it decides to compress and release. The guitars accent. The Hammond stays underneath, adding weight. No harmonica on this one — nothing gets to argue with the bass.O baixo não acompanha ninguém. Entra com o riff, segura o riff, e o resto da banda passa a respirar no compasso que ele abre e fecha. As guitarras acentuam. O Hammond fica embaixo, pesando. Não há gaita nesta faixa — ninguém disputa com o baixo aqui.

  6. Play Grinding on SpotifyOuvir Grinding no Spotify 06

    Grinding Duration: Duração: 2:24

    Opens with the organ alone, dirty, spinning through the Leslie. By the time bass and drums come in underneath, the groove is already decided and it isn’t going to speed up. One guitar only, and late: short stabs, feedback. Motion by friction — wood, valves and distortion grinding against each other.Abre com o órgão sozinho, sujo, girando no Leslie. Quando baixo e bateria entram por baixo, o groove já está decidido e não vai acelerar. Uma guitarra só, e tarde: estocadas curtas, microfonia. Movimento por atrito — madeira, válvula e distorção raspando umas nas outras.

  7. Play Pounding on SpotifyOuvir Pounding no Spotify 07

    Pounding Duration: Duração: 2:50

    Not the drums alone — drums and bass locked into the same blow. Deep kick, hard snare, ghost notes running underneath. The riff is short and the guitars arrive from the side, like hits. The whole track seems built to push air.Não é a bateria sozinha: é bateria e baixo travados no mesmo golpe. Bumbo fundo, caixa dura, notas fantasma correndo por baixo. O riff é curto e as guitarras chegam de lado, como pancada. A faixa inteira parece construída para empurrar o ar.

  8. Play Suspended on SpotifyOuvir Suspended no Spotify 08

    Suspended Duration: Duração: 2:53

    The six come back together, and what they do is wait. The groove is slow and leaves holes between the hits. The guitars say one phrase and stop. The harmonica takes the next gap and stops too. The Hammond holds a low pressure that never resolves. Not silence — the track left hanging, never touching the ground.Os seis voltam juntos, e o que eles fazem é esperar. O groove é lento e deixa buracos entre os golpes. As guitarras dizem uma frase e calam. A gaita ocupa o espaço seguinte e cala também. O Hammond segura uma pressão baixa que nunca resolve. Não é silêncio — é a faixa pendurada, sem encostar no chão.

  9. Play Crossfire on SpotifyOuvir Crossfire no Spotify 09

    Crossfire Duration: Duração: 2:15

    Two guitars on opposite sides, trading short riffs and solos, cutting each other off, colliding. Bass and drums run faster here than anywhere else on the record and hold the fight in place. It ends before anyone wins.Duas guitarras em lados opostos, trocando riffs curtos e solos, se interrompendo, batendo uma na outra. Baixo e bateria correm mais rápido do que em qualquer outra faixa e seguram a briga no lugar. Acaba antes de alguém ganhar.

  10. Play Discharging on SpotifyOuvir Discharging no Spotify 10

    Discharging Duration: Duração: 2:32

    It arrived without being planned and it stayed. Short, fast, nervous — the thing that has to get out after the crossfire, before the excess hardens into weight. It builds nothing and settles nothing. It discharges.Chegou sem ter sido planejada e ficou. Curta, rápida, nervosa — a coisa que precisa sair depois do tiroteio, antes que o excesso vire peso. Não constrói nada e não resolve nada. Descarrega.

  11. Play Converging on SpotifyOuvir Converging no Spotify 11

    Converging Duration: Duração: 2:27

    Bass and drums open alone on a simple riff. The Hammond enters with a short figure. The guitars arrive one at a time. The harmonica last. From there on there aren’t six instruments competing for the music — there’s one movement, and everyone inside it. It builds as far as it goes and stops hard.Baixo e bateria abrem sozinhos com um riff simples. O Hammond entra com uma figura curta. As guitarras chegam uma de cada vez. A gaita, por último. Daí em diante não há mais seis instrumentos disputando a música — há um movimento só, e todos dentro dele. Cresce até onde dá e para seco.

Inner sleeveEncarte Transmission 4Transmissão 4

GROOVE

Nova
DrumsBateria
Orion
BassBaixo
Stern
GuitarGuitarra
Rigel
GuitarGuitarra
Mizuki
Hammond
Iaci
HarmonicaGaita

Original instrumental compositions. Production by George Coelho.Composições instrumentais originais. Produção de George Coelho.

CONVICTION album artwork: a worn record sleeve with the amber MooN wordmark at the top centre. Beneath a hanging noose a pale woman stands among sharp, shattered shapes of black and grey, while dark figures in tall hats loom behind her and bare, thorny branches cut across the scene. A streak of fire flares at the right, scraps of burnt paper covered in handwriting drift through the frame, and a vinyl disc emerges from the sleeve at the right.

Transmission 5Transmissão 5 2026

CONVICTION

Between 1644 and 1647, Matthew Hopkins led the most intense witch hunt in English history. Around a hundred people were hanged, most of them women who were old, poor and alone. In 1647 he published The Discovery of Witches, answering his critics. CONVICTION is built on that text.Entre 1644 e 1647, Matthew Hopkins conduziu a caça às bruxas mais intensa da história da Inglaterra. Cerca de cem pessoas foram enforcadas, a maioria mulheres velhas, pobres e sozinhas. Em 1647, ele publicou The Discovery of Witches, respondendo aos seus críticos. CONVICTION é construído sobre esse texto.

For twelve tracks, the record does not comment: it lets the procedure speak, because the procedure is the indictment. The last, The Reflection, is the band speaking for itself. What happened was not justice, and these stories are told so they are not repeated.Por doze faixas, o disco não comenta: deixa o procedimento falar, porque o procedimento já é a denúncia. A última, The Reflection, é a banda falando por si. O que aconteceu não foi justiça, e estas histórias são contadas para que não se repitam.

SoundSom
Dark psychedelic blues rockBlues rock psicodélico e sombrio
LyricsLetras
Original adaptations of a public-domain source: The Discovery of Witches (1647), by Matthew Hopkins.Adaptações originais de uma fonte em domínio público: The Discovery of Witches (1647), de Matthew Hopkins.
For fans ofPara quem gosta de
Heavy seventies blues rock, psychedelic blues, concept albums built on historical documentsBlues rock pesado dos anos 70, blues psicodélico, álbuns conceituais construídos sobre documentos históricos

  1. Play The Fourth Night on SpotifyOuvir The Fourth Night no Spotify 01

    The Fourth Night Lead vocal: Vocal principal: Nova

    Manningtree, 1645. A woman is kept awake under watch; on the fourth night, with ten people in the room, she calls her imps by name. Hopkins called this his experience.Manningtree, 1645. Uma mulher é mantida acordada sob vigia; na quarta noite, com dez pessoas no quarto, ela chama seus diabretes pelo nome. Hopkins chamou isso de experiência.

  2. Play The Book on SpotifyOuvir The Book no Spotify 02

    The Book Lead vocal: Vocal principal: Stern

    The town had a theory: no man could find so many witches unless he were one, or had stolen the Devil’s own list of names. Hopkins replied that beating the Devil would do him honour.A cidade tinha uma teoria: nenhum homem acharia tantas bruxas sem ser um bruxo, ou sem ter roubado do Diabo a lista de nomes. Hopkins respondeu que vencer o Diabo só lhe traria honra.

  3. Play The Colt on SpotifyOuvir The Colt no Spotify 03

    The Colt Lead vocal: Vocal principal: Mizuki

    The objector calls it breaking a colt: nights without sleep until she says anything. Hopkins answers that the magistrates ordered it, that no one complained at the time, and that it has since been stopped.O objetor compara a domar um potro: noites sem dormir até ela dizer qualquer coisa. Hopkins responde que os magistrados ordenaram, que ninguém reclamou na hora e que a prática já foi abandonada.

  4. Play The Pin on SpotifyOuvir The Pin no Spotify 04

    The Pin Lead vocal: Vocal principal: Iaci

    A pin, a needle and an awl pushed into a body that does not flinch. And if the mark has vanished by the time they search, that proves it too.Um alfinete, uma agulha e uma sovela cravados num corpo que não reage. E se a marca tiver sumido quando chegam para procurar, isso também prova.

  5. Play The Dozen on SpotifyOuvir The Dozen no Spotify 05

    The Dozen Lead vocal: Vocal principal: Stern

    Hopkins insisted he never judged alone: a dozen of the parish’s ablest men, and as many midwives, always stood in the room. The song is sung by one of them.Hopkins insistia que nunca julgou sozinho: uma dúzia dos homens mais capazes da paróquia, e outras tantas parteiras, estavam sempre na sala. A canção é cantada por um deles.

  6. Play The Froth on SpotifyOuvir The Froth no Spotify 06

    The Froth Lead vocal: Vocal principal: Rigel

    Bound and thrown into the water: if she floats, the water refuses her. Hopkins gives four reasons for the test, and admits it was never evidence.Amarrada e jogada na água: se flutua, a água a recusa. Hopkins dá quatro razões para o teste e admite que ele nunca valeu como prova.

  7. Play Six Thousand Years on SpotifyOuvir Six Thousand Years no Spotify 07

    Six Thousand Years Lead vocal: Vocal principal: Orion

    Hopkins, in his own voice, concedes the man may have died of his sickness, not of witchcraft. He keeps the verdict anyway. The moral centre of the album.Hopkins, com a própria voz, admite que o homem pode ter morrido da doença, e não de bruxaria. Mantém o veredito mesmo assim. O centro moral do álbum.

  8. Play The Mouse on SpotifyOuvir The Mouse no Spotify 08

    The Mouse Lead vocal: Vocal principal: Rigel

    If the Devil is a spirit, why would he need blood? Hopkins explains: not for food, but to bind her to the covenant, through a real cat, a rat, a mouse.Se o Diabo é espírito, por que precisaria de sangue? Hopkins explica: não para se alimentar, mas para prendê-la ao pacto, através de um gato, um rato, um camundongo de verdade.

  9. Play The Chair on SpotifyOuvir The Chair no Spotify 09

    The Chair Lead vocal: Vocal principal: Iaci

    Sung by one of the watched women. Each time she sat down, they made her walk again, from the window to the door, until the night was over.Cantada por uma das mulheres vigiadas. Cada vez que ela sentava, a faziam andar de novo, da janela até a porta, até a noite acabar.

  10. Play The Broom on SpotifyOuvir The Broom no Spotify 10

    The Broom Lead vocal: Vocal principal: Orion

    Hopkins lists the confessions he refuses: those taken by torture, by promises, by impossibilities like flying on a broom, by words put in her mouth. The rest he accepts.Hopkins enumera as confissões que recusa: as obtidas por tortura, por promessas, por impossibilidades como voar numa vassoura, por palavras postas na boca dela. As demais ele aceita.

  11. Play The Counsel on SpotifyOuvir The Counsel no Spotify 11

    The Counsel Lead vocal: Vocal principal: Mizuki

    Separated from her home, given good counsel, brought to sorrow. No one presses her. She confesses of her own accord, and it stands even if she takes it back.Separada de casa, aconselhada, levada à tristeza. Ninguém a pressiona. Ela confessa por vontade própria, e a confissão vale mesmo que ela volte atrás.

  12. Play The Sum on SpotifyOuvir The Sum no Spotify 12

    The Sum Lead vocal: Vocal principal: Nova

    Accused of fleecing the country, Hopkins does the sums himself: twenty shillings a town, twenty miles of road, three horses to keep. The frame of the album closes.Acusado de explorar o país, Hopkins faz as contas ele mesmo: vinte xelins por cidade, vinte milhas de estrada, três cavalos para sustentar. A moldura do álbum se fecha.

  13. Play The Reflection on SpotifyOuvir The Reflection no Spotify 13

    The Reflection Lead vocal: Vocal principal: Iaci

    The epilogue, and the only song in which the band speaks for itself. It names the victims and says plainly that what happened was not justice.O epílogo, e a única canção em que a banda fala por si. Nomeia as vítimas e diz com clareza que o que aconteceu não foi justiça.

Inner sleeveEncarte Transmission 5Transmissão 5

CONVICTION

As letras permanecem no inglês original. Traduzi-las mudaria a música.

01 The Fourth Night

They asked him where the knowledge came,
what school, what book, what man.
He never gave a teacher's name.
He named where it began.
They took her up at Manningtree
and searched her on the spot.
They found three teats upon her skin —
"honest women have not."

The Justice gave the order then.
They would not let her sleep.
Ten of them waited in the room,
the watch was theirs to keep.

Night after night they kept her awake.
The fourth night, she called them each by name,
a quarter-hour before they came,
and told them what shapes they would take.
(Holt — Jarmara — Vinegar Tom)

The first came like a white kitten.
The second had no legs at all,
a fat spaniel, she said.
She clapped her hand upon her belly:
her good blood kept him fed.
Then Vinegar Tom, a long-legged hound,
with a head like an ox,
became a headless child of four,
six turns — then vanished at the door.

Night after night they kept her awake.
The fourth night, she called them each by name,
a quarter-hour before they came,
and told them what shapes they would take.
(Holt — Jarmara — Vinegar Tom)
(Sack and Sugar — Newes)

Elemanzer. Pyewacket.
Peckin the Crown. Grizzel Greedigut.
He said no mortal could invent
such names — and so the searchers went.
They searched the women she had named:
the marks were all the same.

One name would bring another name,
one town would bring one more.
One Essex Hundred: twenty-nine
condemned at once — and four
were brought five-and-twenty miles
to hang where Hopkins lived,
for sending out the Devil as a bear
to kill him in his garden.

And when they asked him where it came,
what school, what book, what man,
he answered with the fourth night's names
and said that's where it began.
(experience)

02 The Book

No other man can find them out.
So how does he? the people doubt.
They say a man can't know that much
unless the Devil taught him such.
The greatest witch of all, they say.
The sorcerer who reads the way.
And what did he give back to that?
One line — and then he left it flat.

A house divided cannot stand.
He said it once and raised no hand.
That was his answer. That was all.
He left it leaning on the wall.
(how shall it stand — how shall it stand)

They say he won the book somehow.
They say he holds all England now.
He needs no teat. He needs no pin.
He looks at you and knows your sin.

He said: suppose the thing were so.
Suppose I beat him. Let it go.
To best the Devil at his trade
is credit, not a debt unpaid.
And as for what he reads in you —
no more than any man can do.

A house divided cannot stand.
He said it once and raised no hand.
That was his answer. That was all.
He left it leaning on the wall.
(how shall it stand — how shall it stand)

He never said it wasn't so.
He never said he didn't go.
He never said it wasn't done.
He never said he wasn't one.
(he never said — he never said)

He gave them one line and no more.
He left it standing at the door.
And no one in that town could tell
if that was answer, or farewell.

A house divided cannot stand.
(how shall it stand)
(how shall it stand)

03 The Colt

You found the marks. That wasn't enough.
You kept them standing three nights through.
That's how a man breaks in a colt.
That's how a man breaks in a hawk.
I put it to him in those words.
He answered me without a pause.
He said the magistrates allowed it.
He said that it was done by law.

Essex and Suffolk, he says. Enjoined.
Not his idea. He only kept
the watch the Justice ordered kept.
And so the woman never slept.
The reason, he says, was mercy almost:
awake, she'd call them all the faster.
The imps would come in open view.
Everyone would see the answer.

Nobody said a word that night.
Not one of them complained of rest.
They only started crying out
in the gaol, the ones who'd confessed.
(nobody said a word that night)

A year and a half, he says, it's done.
The judges would not have it stand.
Nobody's kept from sleep since then
by order, or by his own hand.
And if they lay awake all night
in the gaol with nothing left to keep —
that was their own stubborn will.
He says they were offered sleep.

Nobody said a word that night.
Not one of them complained of rest.
They only started crying out
in the gaol, the ones who'd confessed.
(nobody said a word that night)

In the infancy of the discovery.
That's the phrase he used for it.
In the infancy of the discovery,
when nobody knew better yet.
(the infancy — the infancy)

He gave me reasons. Every one
had someone else's name on it.
The Justice. Essex. Suffolk. Law.
And ten men in a room who sat
and waited for the fourth night.

He says it was allowed.
He says it is not now.
(he says — he says — he says)

04 The Pin

An old wife's body keeps its marks.
She bore four children. She is old.
You cannot read the Devil there
in what the years already told.
I asked him how he knows the sign.
He did not hedge. He did not stall.
He said: we put a pin to it.
The pin, the needle, and the awl.

The pin goes in. She does not feel.
The needle and the awl go in.
A woman who can hold the steel
has given the Devil her skin.
(pin — needle — awl)

And if the mark has gone, he said,
that proves it harder than the rest.
She heard the searcher's name in time.
She put her imps to another breast.
Her children's. Small and tender ones.
That's where the word says they were fed.
And all the women find on her
is dry skin, filmed and close, instead.

The pin goes in. She does not feel.
The needle and the awl go in.
A woman who can hold the steel
has given the Devil her skin.
(pin — needle — awl)

So watch her one whole day and night.
Let nothing come to her to feed.
The women climb the stair at dawn —
the teats are full and fit to bleed.
Then leave her by herself again.
A quarter-hour is all they need.
The women climb the stair again —
the teats are gone. Probatum est.
(probatum est)

I asked him once. He gave me this:
the mark is proof. He swore it in.
And when the mark is not there now,
the want of it is proof again.

Probatum est.
(it has been proved)
(it has been proved)

05 The Dozen

They said the old are marked and worn
by every child that they have borne,
by piles, by warts, by years of wear,
and one man and a woman there
would judge alone, and judge it so:
accused, or free — and none would know.

It wasn't one. It wasn't two.
A dozen of us saw it through.
I stood among them. I could see.
And what they said, they said with me.
(a dozen — a dozen)

And when they search a man, we stand,
the ablest dozen in the land.
And when a woman's to be tried,
as many midwives stand beside —
old matrons, skilful, who have seen
the marks for years, and what they mean.

It wasn't one. It wasn't two.
A dozen of us saw it through.
I stood among them. I could see.
And what they said, they said with me.
(a dozen — a dozen)

He said that they could show their skill
to anyone who doubted still,
and give good reasons, plain and clear,
why nothing natural grew here.

Not piles. Not age. Not childbirth. Not
the warts the old have always got.
And every watcher, standing by,
agreed with him. And so did I.
(and so did I)

It wasn't one. It wasn't two.
A dozen of us saw it through.
I stood among them. I could see.
And what they said, they said with me.
(a dozen — a dozen)

So when they say it was one man,
I tell them: count us, if you can.
A dozen of us. Who can say
which voice was mine, upon that day?

It wasn't one. It wasn't two.
(a dozen of us saw it through)

06 The Froth

They bind her up and throw her in.
They watch to see her float or sink.
The ones with marks came floating round.
The ones without were never found.
No law allows it, none at all.
I asked him that. He didn't bend.
He never said the thing was wrong.
He numbered reasons, end to end.

He says the Devil's clever, first.
He swears their marks will not be found.
They walk ten miles to prove it so
and hang for walking all that ground.
A baker out of Norwich came.
Nobody called him. No one sent.
Seven miles on his own two feet —
hanged for his labour when he went.

She floats — the water spits her back.
She sinks — and so the charge is dropped.
She'd weep to hear them call her thief.
But for this charge the weeping stopped.
(and he numbered that one four)

He says the King has written down
the reason water won't comply.
She gave her baptism away.
The element has known the lie.
It throws her back the way the sea
throws up the froth it cannot keep,
and rolls her to and fro until
the shoreline takes her from the deep.

She floats — the water spits her back.
She sinks — and so the charge is dropped.
She'd weep to hear them call her thief.
But for this charge the weeping stopped.
(and he numbered that one four)

And second — this he told me straight,
and said it like it carried weight:
it never once was evidence.
It never changed a sentence.
They did it all the same.
(second — second — second)

Then men of God condemned the thing,
and that is when the practice stopped.
Not for the woman in the flood.
The churchmen spoke. The thing was dropped.

He says it has been left of late,
and ever shall be left.
(ever shall be left)

07 Six Thousand Years

They ask me how a witch can kill
a man, a child, a cow.
They say if she can work her will
then God has lost it now.
God suffers him to do much hurt.
That much I will not hide.
But half of what they lay on her
the Devil never tried.

Six thousand years he's been at work,
the best-read of them all.
He knows what sickness holds a man
before that man can fall.
(no school — no book — experience)

He picks a man already sick,
the pleurisy, the swelling,
and goes down to the women's door
with what that man's been telling:
he tells them that the man has sworn
to have them searched and tried.
They say: then murder him for us.
He promises. Next news — he died.

The sickness killed him. Not the witch.
The Devil did no deed.
She only asked to have it done.
She asked. And she agreed.
(and that's the compass of the law)

He comes back and they call him great.
They kneel, they give him praise.
He never raised a hand at all.
The fever had its days.

He calls them his dear children,
his nearest and his own,
his delicate firebrand-darlings —
then lets them hang alone.

The sickness killed him. Not the witch.
The Devil did no deed.
She only asked to have it done.
She asked. And she agreed.
(and that's the compass of the law)

So let the jurors ask the court
if sickness came before.
Then let them hang her all the same.
I have no more.

(she asked — and she agreed)

08 The Mouse

A spirit has no need of bread,
no flesh, no bone, no heart, no head.
It can't be touched. It can't be felt.
So why the teat? So why the welt?
So why should any spirit need
to come by night to suck and feed?

He doesn't need it. That's the curse.
He comes to make her damning worse,
to keep the covenant in mind —
the one she sealed, the one she signed.
(he doesn't need it)

He is the prince of all the air.
He takes a shape, and he is there.
He joins the thickened air, and then
he walks in shapes of beasts and men.
But make a thing? He never could.
That's only God's. That's understood.

He doesn't need it. That's the curse.
He comes to make her damning worse,
to keep the covenant in mind —
the one she sealed, the one she signed.
(he doesn't need it)

But when he draws the teat, he's real.
He's in a creature you can feel.
He works within it, and he'll make
its mouth speak for the compact's sake.
Be it a cat, be it a rat,
a mouse — be it a thing like that.

So every cat that keeps her house,
and every rat, and every mouse,
is just a creature, or it's not.
And who decides? The searcher's lot.
(or it's not — or it's not)

He doesn't need it. That's the curse.
He comes to make her damning worse,
to keep the covenant in mind —
the one she sealed, the one she signed.
(he doesn't need it)

He never needed to be fed.
A spirit has no need of bread.

09 The Chair

They set a chair beside the wall.
I sat. I felt my body fall.
They took my arm before I slept.
They said: get up. And so I stepped
across the room and back once more,
from window to the bolted door.

Don't let her lie, don't let her rest —
the imps will come at her behest.
They'll fright the men who sit and wait
and hearten her. So walk her straight.
(walk her — walk her)

My feet were blistered on the floor.
They broke on boards they'd crossed before.
And when I told them what they sought,
I could not tell you what I thought.

Don't let her lie, don't let her rest —
the imps will come at her behest.
They'll fright the men who sit and wait
and hearten her. So walk her straight.
(walk her — walk her)

I heard him later answer this.
He said I'd understood amiss.
The walking was to keep awake,
no more than that, for waking's sake.
He said that we were never led.
We walked ourselves. That's what he said.

And when the country people heard
us name ourselves, and took the word,
and used us worse — he had no part.
They never proved it from the start.
(no part — no part)

Don't let her lie, don't let her rest —
the imps will come at her behest.
They'll fright the men who sit and wait
and hearten her. So walk her straight.
(walk her — walk her)

He said it isn't done today.
They've left it off. It's put away.
But when I sleep, I walk it still —
from wall to door, and back, until —

(walk her — walk her — walk her)

10 The Broom

You say I find a frightened woman
half out of her wits, and alone,
and get a word or two from her
with nobody there but my own.
You say I tell her: speak and go free.
You say I tell her: speak or you hang.
You say the words were mine to start.
I'll tell you plainly where I stand.

No word she gives me under force.
No word that violence has bought.
I've never let a torture stand
and never will. I grant it not.
They watched her. Walked her. Swam her too.
I know what some of them have done.
But what a woman says in pain
is not a confession. It is none.

I will not have it. Not the first.
I will not have it. Not the last.
Four ways a woman may confess
that I have never let stand fast.
(I will not have it — I will not have it)

No word that kindness bought from her.
Confess, and you'll not see the gaol.
Confess, and you will not be hanged.
I call that flattery. It is stale.
No word that could not come to pass.
No flying through the air. No broom.
If she confesses the impossible
there's nothing in it. Let it go.

I will not have it. Not the first.
I will not have it. Not the last.
Four ways a woman may confess
that I have never let stand fast.
(I will not have it — I will not have it)

And last: no word I gave her first.
You have four imps about you, have you not?
Yes, she says. Yes.
And have they sucked you? Say it out.
Yes, she says. Yes.
And are their names so, and so, and so?
Yes, she says. Yes.
You sent one out to kill my child, I know.
Yes, she says. Yes.
I account that nothing. Nothing at all.
(nothing — nothing — nothing)

So let the jurors ask the man
how the words were put to her,
and let them weigh it harder now
than ever once they did before.

Four ways I will not take a word.
The rest of them I take.
(the rest of them I take)

11 The Counsel

They find the marks upon your skin.
They take you from the house you're in.
They keep your old companions far,
so none can find you where you are.

And then they counsel you. They're good.
They tell your sin, as preachers would.
They read the threatened judgements out —
they leave you not a single doubt.
They tell you how the Devil lies,
how long he's worked you in disguise.
And sorrow comes for all the years
you gave to him. And then the tears.

Nobody asked. Nobody pressed.
You opened up. You told the rest.
Your own accord. And bitter, too,
you told them all you used to do.
(of your own accord)

You said what brought him to your door:
your pride, your anger, something more.
You told his likeness and his tone,
the spirits that he made your own,
their names, their number, and their kind,
and what you sent them out to find.

Nobody asked. Nobody pressed.
You opened up. You told the rest.
Your own accord. And bitter, too,
you told them all you used to do.
(of your own accord)

To such a man, in such a place
that no one knew, you named the case.
And every harm was proved and done:
same day, same man, same cause. Each one.

And if you take it back again,
deny it all, deny it then —
it's testimony all the same.
You gave them every spirit's name.
(all the same — all the same)

Nobody asked. Nobody pressed.
You opened up. You told the rest.
Your own accord. And bitter, too,
you told them all you used to do.
(of your own accord)

Nobody asked.
(of your own accord)

12 The Sum

They said the man rode out for pay.
They said he fleeced them every day.
He'd swear a town had witches there
and hearten them to pay his fare.
He said he never came unsent.
They wrote, they rode, they sent — he went.
They all were glad to have him come,
for all he knew — in every one.

He swore he never said the word.
He only judged on what he heard.
The search was done. The teat was found.
Her own confession made it sound.
He claimed no skill, he claimed no name.
He said another'd do the same.
He judged the way a man may judge,
and took the road, and bore no grudge.

Then judge how well he fleeced them all.
Then judge the fortune, great and small.
Judge what the country paid him down:
twenty shillings for a town.
(judicet ullus)

He rode out twenty miles or more
and found three witches there, or four.
And if he found but one instead,
then one was cheap enough, he said.
He had no more for all he owed —
the week, the stable, and the road.
And nothing else from first to last
but twenty shillings when he passed.

Then judge how well he fleeced them all.
Then judge the fortune, great and small.
Judge what the country paid him down:
twenty shillings for a town.
(judicet ullus)

That is the great sum that he takes.
That is the whole of what he makes.
A company he has to keep.
Three horses, and the road, and sleep.
Twenty shillings for a town.
(three horses — three horses)

Four nights they kept her from her bed.
They carried four, and hanged them dead.
The pin, the needle, and the awl.
And twenty-nine condemned in all.
Twenty shillings for a town.

Judicet ullus.
(let any man judge)
(let any man judge)

13 The Reflection

His book kept every imp by name,
and all the shapes in which they came.
It never gave her name. We will.
Elizabeth Clarke. We say it still.

John Lowes, the parson, old and grey —
they swam him till he had to say.
And Meggs the baker walked to clear
himself — at Norwich, hanged that year.
And most were women: old, and poor,
alone, with no one at the door.

It was not justice. It was wrong.
We name them here, inside a song,
so no one hangs for what they hold,
not now, not ever, young or old.
(we name them here)

Believe the way your mother prayed,
or pray in words another made,
or pray to none — it's yours to say.
No court can hang you for your way.
The odd, the old, the ones alone,
the ones whose ways are not your own,
are neighbours, and they always were.
The rope was never meant for her.

It was not justice. It was wrong.
We name them here, inside a song,
so no one hangs for what they hold,
not now, not ever, young or old.
(we name them here)

It starts with fear, and someone's word
against a neighbour, and it's heard.
So when they point at someone new,
remember what a room can do.

It was not justice. It was wrong.
We name them here, inside a song,
so no one hangs for what they hold,
not now, not ever, young or old.
(Elizabeth Clarke — John Lowes — Meggs)

It was not justice. It was wrong.
(we name them here — we name them here)

Original adaptations of a public-domain source: The Discovery of Witches (1647), by Matthew Hopkins. Lyrics and production by George Coelho.Adaptações originais de uma fonte em domínio público: The Discovery of Witches (1647), de Matthew Hopkins. Letras e produção de George Coelho.

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