One summer’s day in 2008 I bought a can of coconut water from the local newsagents. The feel of the vessel, its weight, size and shape; the three groves at the top and bottom, the shape of the ringpull – these characteristics were new, but familiar.“Uncanny” I said.

The standard 330ml can (Coke, 7up Pepsi etc.) had been ingrained into my physiology as far back as I can remember. This new can format has continued to amaze me in the most banal fashion.

The similarity between the timbres of (my) operatic voice and the theremin is a recurring theme in my artistic and musical practices.

Owed to the Uncanny is a celebration of the hauntingly similar entities of timbre and object in time and space.

The recurring theme of the ode is being explored as I decide what to sing and to whom/what I aim my song at. An ode is owed, in debt to, an idea or concept.

This ode is owed to parallel observations of can and instrumental timbre in an absurd self-referential vortex resulting in a time-based experience for performer and audience.