cocd 06

45 minute CD

Composed Performed Produced by Christopher Orczy

Recorded in Christchurch July 4-September 10 1995

Mixed and Mastered at Redd Acoustics, Christchurch, NZ by Sam Cooke and Christopher Orczy

Released November 1995 as a CD under the name of Chris Prentice




01 Second Morning

02 Before the last

03 Severance

04 The Dying God

05 Hod throws the mistletoe

06 The Kingdom of Hel

07 Orszagház

08 An embrace on the border

09 Plot "301"

10 Waiting for the Full Moon

11 Full Moon

12 Goodnight


After returning from a European trip, I bought a Korg Wavestation EX. This was my first experience with a digital synthesizer. It took me many a month to come to grips with the fact that there was no "resonant" filter! Eventually I came to terms with the instrument's vector synthesis and wave sequences. By the day after my 23rd birthday, I was ready to record another album. The different place my life was in compared to the previous few years works was a major factor in the concept and realization of the work. At this point, my marriage from the previous year was now over. I had also discovered the "delights" of excessive drinking. Recording commenced with a piece a week, usually on a Wednesday, after which I would meet my friends at the pub. When the album was completed, my friend Jeremy Taylor had just completed his album, "MusicIand" with his band Cinematic. We had a listening party at my flat for both albums. I find this album the most difficult of all my albums to listen to. It reminds me of a time when I was completely arrogant and very often drunk and abusive to my friends.


The album is divided into 4 sections, each dealing with an aspect of my life at the time. The first section concerns itself with the breakup of my marriage and subsequent divorce. The second, Norse Mythology, in particular the god, Baldr. The third section with my visit to Hungary (this is interesting to compare with Trianon), and the fourth which was essentially about being by myself again.

Each section contains three pieces, 2 abstract or narrative, and one shorter, catchier piece in between the two.

The title for the album came from when I was sorting out the tracklisting. I had many pages with the pieces in different places. At the top of each page was "order". It also worked on a another level, as my life contained no sense of order at that point. Maybe I was trying to tell myself and my friends something.






 Korg Wavestation EX


Recorded on a Fostex X-28 4 Track




"Eerie ambient adventure"

"Christchurch's Chris Prentice goes where few local music makers dare-to tackle the etheral area of ambient music. His genre is an understated and allusive one, carrying little territoriality, and thus little in the way of hometown acknowledgement. It refuses the traditional ideas of what a "song" is - verse-chorus-verse, lyrics, beginnings, and endings- to the point where the listener often cannot tell where one of the tracks ends and another begins. It also does not breed "radio hit singles", but that is not (hopefully) what the artist intended when he created this eerie soundscape of shifting pace and moods. Forty-seven minutes in length and split into four groups of three songs, "order" travels from "Second Morning" through to "Goodnight". Along the way, sounds ebb and swell. Gentle throbs and pulses spiral down to silence, and surreal sounds shimmer as though creating incidental theme music for 60's sci-fi movies like "Barbarella" or "Zardoz". In the third set the feeling changes to a more sinister tone, interrupting the flow. "Order" is an album to take in whole, not in part. A good soundtrack for reading, studying, or simply considering."

Darren Sharp, The Press, Friday January 12, 1996


"A slice of history in four parts. There are patterns, textures, moments, pauses and reasoning's to all this. Chris Prentice knows this. As an artefact to be interpreted, this is an unbelievably honest work. Prentice gives the listener titels and words. Yet they are his. They are of little meaning to the listener. It is to each of us to place these fragments in one's own time and feelings. Prentice's understanding of landscape and nuance make Order's sprawling textures breathe, sigh and rejoice. Sounds, seconds and feels recall the best of master Brian Eno, through to the delicate ultra-beauty of David Sylvian's instrumentation. This isn't pop music. This isn't music to work against. It is a series of worlds and emotions to meld with."

Chris Mooar, Presto No. 30, April 1996