Presenting Trish Causey’s debut album, many lifetimes in the making:


Based on the Twin Flame journey with her Divine Masculine, FLAMES is an album that covers both sides of the tumultuous road from distorted 3D experiences back to the truth of Love.

When Trish was 19, she dreamt of a man walking through the forest to find her in a small cottage deep in the woods. When he arrived at the cottage, Trish experienced true, unconditional Love for the first time in this life. She knew he was unique. He was special. He was “the One”.

Little did she know that that dream heralded the beginning of Trish & her Divine Masculine finding their way back to each other in the physical, to reunite & be a beacon for others finding their way back to Love.

In 2017, Trish’s Divine Masculine found her in the physical, which set off a chain-reaction of experiences to trigger & heal them both of the pain of the past — from this lifetime & many other timelines when their attempts to be together were blocked.

Now, in 2022, the ancient contracts blocking reunion have been found & reversed. The healing has commenced. Union is at hand.

Only Love is real.


Ranging in style from Broadway showtunes to jazz, blues, & rock, from simple voice & piano to full symphony, FLAMES is as much a journey through Trish’s musical influences as it is through the angst & aspects of the Twin Flame experience.

In her mind, Trish sees the music videos for all of the songs spread across centuries & cultures, visiting just some of the lifetimes she & her Divine Masculine have lived & loved each other, only to be thwarted by pain, karma, & contractual blocks to union.


ALL THIS ~ A slinky torch song with full orchestra to kick off the album (& perhaps be a show-opener for live concerts!), “All This” is Trish’s full-belt version of a wowza Jessica Rabbit number — except it’s Trish in the va-va-voom sparkly dress, singing about how her man is gonna miss “all this” sumptuous lovin’ if he leaves for good.

FIREBRAND ~ An almost-EDM, almost-BDSM female power anthem based on the nickname that men have bestowed upon Trish throughout her life, “Firebrand” is about a fiery Feminine who doesn’t take shit from men — & they love her for it! That’s Mistress Firebrand to you, thank you very much!

NOT SO EASY TO LOVE BLUES ~ This cheeky 12-bar shuffle blues’ ditty pays homage to uppity women who are too “difficult” & “complicated” to be loved by patriarchal men. Too bad! Contains a few “dirty” words. Not for children or the faint of heart.

DEEPLY, FULLY, COMPLETELY ~ A wannabe R&B type of song, DFC touches a nerve within the Divine Feminine who doesn’t understand why her Masculine doesn’t love her as she loves him. Because octave jumps are a classic emotional device, Trish has thrown in a couple for good measure. Features an alto sax solo & much unhealed Feminine wounding & belty pleading that audiences will adore.

BE MINE ~ A Southern blues-rock song featuring a fantastic cello solo, “Be Mine” allows the wounded heart its rebuttal & begs the “runner” to come back. Even with all the problems, their worst day together is better than their best day apart. (That’s an actual lyric from the song, too.) In her college voice lessons — around the time Trish had the dream of her Divine Masculine, Trish learned an art song by Wagner (yes, that Wagner) called Träume, which is German for “Dreams”, that was an étude study for his opera Tristan und Isolde. While, technically, Träume is in 3/4, the pulse is in 6/8; therefore, Trish’s nod to Träume in the intro seemed like a perfect segue into “Be Mine’s” 12/8 blues.

RUNNING ~ Trish’s idea of “selling out” & writing a country song, “Running” is about the one who is not sure their heart is ready to trust again. Are they really “the One”? If you trust Love one more time, will you wind up hurting again? Features a contrapuntal harmonic interplay between oboe & cello — which is so common in country music.

WOODEN DOLL ~ Based on something Trish’s Divine Masculine said to her, “Wooden Doll” explores the painful path to healing & being able to love again. With her Divine Masculine’s experience as a carpenter, Trish envisioned a new fable of a doll-maker chipping away everything that is not Love to help heal the doll’s heart so she can come back to life. Composed in a “2nd line” jazz-blues style, a soprano sax solo features in the mid-section.

CLICHÉS ~ While studying the music technique of line clichés at Berklee, Trish got the idea of writing a song that utilized the line cliché to underscore romance clichés in relationships. With each “verse” being only 1 sentence, the music is the same motif in each section, building to a glorious crescendo’d climax, à la Ravel’s Bolero, then ending, not with a bang but with a whisper.

WITH YOU ~ With the goal of scoring films, Trish had once had the crazy notion of being hired to compose a James Bond film — because more of these big, high-profile composing gigs should be hired out to women composers, dammit! She studied John Barry’s brass-heavy arrangements, & she composed this song under the title, “Bonded With You”. However, the more Trish thought about how violent the Bond films are (as are most blockbuster films nowadays), she decided to forgo pursing a Bond film gig. And yet, Trish loved the music of her song, now-titled “With You”, as well as the over-the-top Shirley Bassey-style vocal delivery she envisioned. So, the song, “With You” was added to the album, making a nice transition from the angst-ridden separation songs to the love songs of union.

YOU ARE THE ONE ~ Channeled & composed many years ago, this simple voice & piano love song is one that Trish could never sing, until her Divine Masculine found her & she finally knew who she was singing the song for.

FLAMES ~ Trish doesn’t like rules, so when music theory says a song has to start on the I-chord so that there’s a sense of coming “home” when you end on the I-chord, Trish kinda laughs & says, “Nope. Doesn’t have to!” For this title-song, Trish knew she wanted a smooth jazz feel to encapsulate the Twin Flame journey. She also knew she wanted the mandolin for the featured instrument — because her Divine Masculine plays the mandolin. More than that, she knew she didn’t want to start on the I-chord. For this song in the key of DMaj7, Trish begins the song with a Bm7 chord. The upper triad of the Bm7 has the root triad of the D major chord, so even though you don’t actually hear the I-chord until the end of the verse, it still feels like you’ve arrived “home”. So, take that, music theory!

BONUS SONG: FOR ME, FOREVER ~ The song of the poem of the dream that started it all…. The dream of the man who came to Trish in the cottage & the Love she experienced in that instant that seemed to last a thousand eternities overwhelmed & overtook Trish’s waking thoughts for months to come. In fact, over the years that followed, that dream was the basis for writings, music, & stories that Trish couldn’t help but create. The man in the dream became the measure by which all other men were compared & judged, & none even came close, in Trish’s eyes. This man haunted her in the most beautiful, wonderful way, & yet, he wasn’t real. He was just a dream then.

Not long after the dream, Trish wrote the poem, “For Me, Forever”, about that dream, about him, her, that night, that forest, that cottage, them.

Not one for rules, Trish set out to compose the poem in 5-line stanzas with a rhyme of ABAB, with the 5th line ending with a syllable of short – i – vowel (to void common rhymes of soon-moon-June, eye-sky-high, etc.). In short order, the poem was written. Trish showed the poem to a creative writing instructor at the college she attended, & the teacher said the language was archaic & the meter was uneven & that Trish needed to re-write the whole thing. Trish instantly knew the woman was an idiot.

A few years later, Trish decided to set the poem to music. Trish heard the music in her head. However, the idiot teacher’s words came back to rattle her — did the lines need to be rewritten to a standard meter to fit the music? No. The music Trish had heard fit the poem’s lines perfectly, & vice versa. No changes were made to the meter or structure or rhyme scheme.

For the album, Trish has added an extended intro to include some musical themes she foresees for the stage version of FLAMES, the MUSICAL.