Of her second solo album ‘Quiet!’, which marked her debut as a writer, she says: "The album… reflected my wish to abandon any sure fire known element so that more obscure methods… would have to be explored. ‘Quiet!’ would be lyric-less, tracks untitled… and would explore the world of cyclic riffs combined with as many tones and textures… as I could vocally bring to the work. My aim was to force myself into new territory."

Before she was twenty, Chandra decided to take a sabbatical — not only to create time for more in-depth musical research but also "to create a space in which I could start to question and systematically undo some of the expectations and reflections that had been coming at me. I started to think very seriously about what constitutes an artist, not only in forms of skill and imagination but also in terms of mastery of the self and mental independence. I started then to think consciously about the nature of creativity itself and about where it originates." The sabbatical was to last four years.

Chandra returned with ‘Roots and Wings’ which, in utilising solo voice over drones on some tracks and juxtaposing the increasing array of vocal techniques after command, pared the way for her ground breaking trilogy on Real World.

"It demonstrates again how innovative and imaginative her work can be… how easily tradition and innovation can become bedfellows. Most of all it demonstrates Sheila Chandra’s maturity as a musician."

Ken Hunt, Folk Roots

After ‘Roots and Wings’ in 1991 and ten years as a studio-based musician, Chandra decided that for her first ever live appearances she would appear alone, supported only by the occasional drone. She felt that this would be the fastest way to learn about the dynamics of the performer-audience relationship. A new catalogue of material using only solo voice and drone would therefore have to be written. Having formed her own production company, Chandra offered an album of the new style material to Real World.

Her new found ability to cross continents in a single vocal line and weave seamlessly the vocal styles of the Arab world, Andalucia, Ireland, Scotland, India and more ancient structures such as that of Gregorian plainsong made for a true fusion within one mind and one voice. ‘Weaving My Ancestors’ Voices’ established Chandra as a spiritual heir to a ‘whole world’ vocal tradition, whilst Coe’s sensitive and painstaking production enhanced this further and acted as an integral part of the recording, particularly on the virtuoso vocal percussion pieces ‘Speaking In Tongues’ I and II.