Saturday, April 14, 2018



April 7, 2018
Banned Rehearsal 439 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [December 1996]

a whisper of white noise cushions immediate immersion
nothing is far away
there is no such far away

soft roof

not playful but earnestly filling
that is
there is no mistaking the intent to be making music
though without sense of curatorial anything
sounds meant to mean, not to exhibit
(it presumes presentability)

(in the last days of our analog recording)

pressure applied firmly with vigor and force

ice hanging high in the cavern ceiling

a resonant wooden chamber, or any other, can be struck to sound in a wide range of manners
and through a full spectrum of vibrational nodes within the resonant chamber's prior soundings
each of which is like a mouth's vowel shape
specific to the household (domiolect)
which is how me make them, the chambers, speak for us
as us

language exploded view
press out upon the shell of our medium
ear scrubbing high power mass build up
Petrushka carnival soup

bang the chimney bang (really go bang at it) slappy whap WHAAM whop
the chimney's fundamental, though low in the mix, is a lovely rich warm hum

Minmax Dub 13 - Carl Juarez [from Sonicabal 2001]

wacked out polymeters in large scale poly beats
then it drives off the beach side

Dad's Cars - Carl R. "Dick" Eisenbrey, interviewed by Keith Eisenbrey on April 16, 2006

my fave: the putt putt car (a Nash Metropolitan convertible). Cows would look over the top at us.

April 8, 2018
Waiting - Shaprece [from Scatterbrain]

parts of the same voice strand of monologue thought layers as they construct themselves into selfconsciousness and lust driven volition

Banned Telepath 46 Somerville - Aaron Keyt [March 2016]

a gentle harmonica spinet duet, and all I need from one and more, with space heater grounding sound grounding the sound. This became part of Banned Rehearsal 907.

Have With Yow to Walsingame - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

How large is this tune as it hangs in the room? Upon the answer hangs the ability of the ornamentation to extend into accumulating dimensions
gone like smoke in lights and stances

same melody in a different chair

White House Blues - Charlie Poole and the North Carolina Ramblers [from Anthology of American Folk Music]

a going down the road feeling bad type tune

Red Headed Woman - Sonny Burgess [from Sun Records The Definitive Hits]

too much fun to fit in that tiny studio of legend

Waltz for Debby (take 1) - Bill Evans Trio [from Waltz for Debby]

rhythm schemes falling in from elsewheres (spilled out of Byrd, perhaps?)

Patterns - Simon & Garfunkle [from Parsley Sage Rosemary and Thyme]

a screenplay in stanzas
rather grim if you could believe him

Unnamed Track 8 - Tillicum Junior High School Band [concert of March 3, 1971, from my mom's

leering stripper swing

Dove - Walt Wagner [from Caprice]

scenery and stage arrangement filler soundtrack style
expansive enough for a dance number to close out the reel
never not nice

Seventeen Prepuntal Contraludes - Keith Eisenbrey [at the Seattle Concert Theater, July 1981]

I may be the only one hearing this inside of these pieces, but I always did have a knack for hymnodic melody.

Standing On the Edge - Screaming Trees [from Clairvoyance]

the panels are large
it's time for a light show

April 10, 2018
Banned Rehearsal 262 - John E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Holden K, Neal Kosály-Meyer, Marilyn Meyer, William Meyer [July 1991]

a gathering as the Kosály-Meyers visit from Outpost San Diego so that the cousins can be introduced.
yellow tape folk song soundtrack oh dear what can the matter be as the age of chaos sets in the full scale invasion in the deep background Pastorale our improv becomes a confusion wafting through
a tunin'!

my chart drifts past Marilyn Poppins

now it is just the three of us
and the two dinosaurs
ought eight four (it weren't neither that which hadn't been yet anyway)

a roaring distant din at the back
you say 'Banned' (two syllables, see British Highway Code below)

X-2 - The Boss Martians [from 13 Evil Tales]

fan fiction, as though constructing loopables

Morningspeak - Ffej [from Sonicabal 2001]

neon sign for a parts factory add this for Ffej! parts for the man

My Oklahoma Home - Bruce Springsteen [from The Seeger Sessions]

old timey disaster blowed away
a great song, I wish he hadn't treated it so like an artifact
tried so hard to mimic a character he forgot to sing the song

Banned Rehearsal 791 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 2011]

Yamaha chameleon (not new to the family, but new to the Tintinabulary)
dayglo camoflage
spoons: an eloquent dispensation
player enter tainer
do not mistake this for lame
the discard pile as poetry
table tennis orbs tossed about

The Breakup Song - Pritam [from Bollygood Volume 2]

an "ah" vowel pushes its rhyme forward through a thicket with dropped in English words like "breakup" and "relationship".

April 12, 2018
All In a Garden Grine - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

drapery tumbles in enrapturing simultaneities sliced thin to view at subsequential angles

Dead Man Blues - Jelly Roll Morton [from The Smithsonian Collection of Classic Jazz]

Vienna and New Orleans - cities famous for sloppiness as a front for something else

Right Behind You Baby - Ray Smith [from Sun Records The Definitive Hits]

another stalker anthem

Detour Ahead (take 2) - Bill Evans Trio [from Waltz for Debby]

miles to go before we land on both feet together

British Highway Code - The Master Singers

proscripted pedestrianation with maximal syllabification

funny the first time for about 30 seconds

Untitled Cut 9 - Tillicum Junior High School Band [concert of March 3, 1971, from my mom's tape]

all roar no Charleston
New Orleans party town

Wedding - Walt Wagner [from Caprice]

prog-lounge (ticking clocks)

Rejoice - U2 [from October]

playing to the arena from the get go, at least that's how it seems from this distance

Karen's First Solo Tape - Karen Eisenbrey [April 1986]

While I was in Australia to glimpse Halley's Comet, Karen made this tape.
awesome dulcimer tuning! hand made mountain lap roots
ukelele - first person field recording of Dominos, and Mr. Abstractor (twice)
Hum, hum de hum, hum de hum

the clock is broken - Infamous Menagerie

inverted balance leaving space for vocals to space out on the verge of, but never beyond

Solos - Banned Rehearsal - Karen Eisenbrey, Aaron Keyt, Anna K, Neal Kosály-Meyer [December 1996]

Ten years after KFST, in preparation for our last Brechemin show ever, which would be in January of 1997, a session of four back-to-back solos to be used as part of the background mash of noise coming from multiple cassette tape play backs to play at our backs as we played. Neal finds a stupendous distortion on cornet.

In Session at the Tintinabulary

April 9, 2018
Banned Rehearsal 956 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Saturday, April 7, 2018



March 24, 2018
Études d'exécution imminent (as it stands)

Recent Solo Piano Compositions by Keith Eisenbrey
March 24, 2018, 8pm
Chapel Performance Space, Good Shepherd Center, Seattle

10. Corollaries (Up's Up)


11. Ghosting Doubles (first sighting) (after Amy Denio)

10. Corollaries (Down's Down)

9. Second Thoughts
             Ba Bb
          Ca Cb Cc
       Da Db Dc Dd
    Ea Eb Ec Ed Ee
 Fa Fb Fc Fd Fe Ff

11. Ghosting Doubles (second sighting) (after Amy Denio)

10. Corollaries (Down's Up)

9. Second Thoughts
 Gb Gc Gd Ge Gf
 Hc Hd He Hf
 Id Ie If
 Je Jf

11. Ghosting Doubles (third sighting) (after Amy Denio)

10. Corollaries (Up's Down)

"Ghosting" is composed by Amy Denio, © Spoot Music, ASCAP, and is used by the kind permission of the composer.


March 25, 2018
Outlaw Drag - The Boss Martians [from 13 Evil Tales]

scholars of the sound the Puget Sound sound
reverb just so - check!
Hammond B3 - check!
all done up in 90's sound drag
an original instrument craze outside of ancient music fandom

Malevolent - Chris DeLaurenti [from Sonicabal 2001]

invisible thread narrative

Oboe di Morte - Brad Anderson [from Dark Energy - Interstellar Pianos]

the uninflected plainness of the oboe tune not unsubtly played by subtly laid out flat
behind it a roar not unlike wind noise
whatever it is it is coming nearer
how many oboes are there!! AAIEEEEEEEE!!!!

Assembly Rechoired 53 - Karen Eisenbrey, Keith Eisenbrey [April 2011]

Rejiggerment after removal of the Mighty Wurgelitzer (sic)
drums first start with the throne
vacuum made of motor
quietly in the background a lovely capture of airplane
air in tube
engines winding their sounds around each other
or the differential arrival and warp through air mass the echo field
arrayed a raid
setting up the electric keyboard stand
plug it in
makes noise!
an assembly required assembly rechoired

High Goodbye - Strange Like Us [from Strange Peeps]

art school rock, but in the best possible way
in that the vocals are never straight sung but used to cause a mic effect
to cause a certain sound

The Second Grownde - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

O the joy of figuration!
a pleasurable hand twiddly activity
a pleasurable texture in the earbrain
as though fingers touched with tunes dance playfully
love the little cadenza tag

Brotherly Love - Elgar's Creole Orchestra [from Alan Lowe's That Devilin' Tune]

slapstick soundtrack showtune

Please Please Please - James Brown [collected from Dave Marsh's The Heart of Rock & Soul]

invested in every repetition
low in his blues town register

Waltz for Debby (take 2) - Bill Evans Trio [from Waltz for Debby]

laid back for where it gets to

(I Know) I'm Losing You - The Temptations [collected from Dave Marsh's The Heart of Rock & Soul]

Othello post Iago
studio fade quick out

April 3, 2018
Unlabeled Track 7 - Tillicum Junior High School Band - Bob Runyan [from my mom's tape archive]

more jazz band - what is it about the transfer trajectory that so booms the bass?

Jamboree - Walt Wagner [from Caprice]

fast playing to no end at all

Adult Books - X [from Wild Gift]

X as Talking Heads if Talking Heads were X

April 5, 2018
Banned Rehearsal 73 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer, Wally Shoup [April 1986]

It has been a full couple of weeks in our family, which is why I missed blogging last Saturday. I got through 20 minutes of the wrong cut before I realized my error.

start over this time with Wally
history lesson
announcer voice
as though the face of what is announced is in a universe with the what of what is announced

lumpy and clogged
exploring what does not flow
musicology of stagnation

mirror battle
insectoid exoskeletal
hive-y drone
seething mass
no let up
forever scribbling sound
until it does

a brief cliché

discourse on polypulse

this was elsewhere
the ice storm the night Wally Shoup was in Barrytown
forgotten factoid recalled!

caw caw caw caw caw
where it goes after energy dissipates
loose mooring loose moorals

use fresh water
bring to a furious boil

Whirlpool - The Young Fresh Fellows [from Electric Bird Digest]

of whom?
friend done gone lost?
outside inside

(a solid grown-up song, if you're interested in my opinion)

In Session at the Tintinabulary

March 26, 2018
Banned Rehearsal 955 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

Saturday, March 24, 2018



March 22, 2018
The Magpie's Shadow - Peter Nelson-King, piano
Chapel Performance Space, Good Shepherd Center, Seattle

a well tuned selection of four different ways to be impressionist:

Five Sketches in Sepia - Ernst Bloch

evokes the visual through imitation of poetry's line by line image rhythm

Kubiniana - Hans Erich Apostel

same basic idea, but with stage sets and costumes

Iblis Suite, op. 3a - Fulvio Caldini

very tiny things disappearing into a whole (I'd like to hear this again, it went by so quickly)

The Magpie's Shadow - Peter Nelson-King

aphorisms sharply drawn - inside and outside the piano sounds both playful and exact

sing whistle slap

Peter's playing is clear and strong. His compositional voice is sophisticated and wide ranging. I look forward eagerly to hearing much more.


March 17, 2018
A Lesson of Voluntarie - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

This is not program music, some quaint picture of times of yore. This is deep teaching - the Great-Great-Grandfather of Die Kunst der Fuge.

The Birth of the Blues - Francis Carter [from Alan Lowe's That Devilin' Tune]

irrepressible invention chomping at the bit as it works through the simple part of the tune in order to get to the breaks so that it can cut loose and rip

Picture of Health - Chet Baker and Art Pepper [from Playboys]

and light on their feet
no corner as can't be turned
no twist so tight as can't be nimbled

My Foolish Heart - Bill Evans Trio [from Waltz for Debby]

centered on the line between the downbeats
where we pivot from remembering the last to anticipating the next

24 Tonal Preludes 17-20 - Greg Short - Keith Eisenbrey [from my recital of February 22, 2018]

17 - could even up the rhythm
18 - could slow it down to avoid the stumbles
19 - pretty much nailed the hard bit
20 - kept the layers clear and the momentum steady

March 18, 2018
Unnamed Track 6 - Tillicum Junior High School Band - Bob Runyan, director [from my mom's tape of a concert given March 3, 1971]

a slinky number

Impromptu - Walt Wagner [from Caprice]

swims in keyboard sound

Walt Wagner, known in Seattle for his long-standing gig at Canlis, is the older brother of a fellow pupil of mine in the studio of my childhood piano teacher, Victor Smiley. I sat next to Walt to hear Horowitz when he came to Seattle in 1976 or thereabouts.

Seventeen Prepuntal Contraludes - Keith Eisenbrey - Keith Eisenbrey [recorded January 6, 2010]

I love how, after the first few very quick numbers, the first slow manages to be really quite small and tight, but still sound vast. Somewhere between moving from cassette tape to CD to hard drive I wound up with an extra index slot for this, so it has come up recently twice now, sandwiching my live performance of it this last February - a month ago today, in fact.

March 20, 2018
Jersey Girl - Bruce Springsteen [from a dub tape of 6 B-sides]

mariachi of the northlands
echo of calliope in the breeze

Banned Rehearsal 261 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [July 1991]

once again at Toad Hall

on the 40th anniversary of the death of Arnold Schönberg in Hollywood California

gloriously mal-intoned organ of TH
low tones of weary desult(edness)ory
as though it were happening
if happening at all
in another state just above the edge of audibility
a throbbing hum machinery
no upper partials to speak of
the gravity being heavy that day
the acoustic effect these sounds are recorded as having been making
vis a vis
the acoustic effect these sound have now in this room

in distant rooms
brass right there imaging through the spiral storage
valiantly throwing energies around to get things going

modest success

brooks conflue

In Session at the Tintinabulary

March 19, 2018
Gradus 330 - Neal Kosály-Meyer

gradations of perceived intention rhythm, from rhythm of wind-blowing-stuff-around to is-someone-out-there?
partly tracking the dynamics
partly tracking arm motion structure - finger hand wrist elbow shoulder back hip leg stance of feet - posture as a whole in motion
how the body enters

March 24, 2018
Banned Rehearsal 954 180311-14 - Karen Eisenbrey (Seattle), Keith Eisenbrey (Seattle), Steve Kennedy (Seattle), Aaron Keyt (Chignik Lake School and Port Haiden), and Neal Kosály-Meyer (Seattle)

I finally got this put together. Aaron had to return closer to civilization in order to get ping enough to transfer the sound file made at Chignik Lake School.

Saturday, March 17, 2018



March 10, 2018
Large Cortical Areas - Robert Pearson [from Sonicabal Volume 2]

newness, as in what we would expect to be an entrance of a new idea, comes across here as opening a door in order to hear what has been going along already, but from a different room, reverberated against other walls

Assembly Rechoired 49 - Karen Eisenbrey, Keith Eisenbrey, Kelly W, Allen Welch, Suzanne Winter-Welch [April 2006]

What is this activity we do, as experienced by some who beforehand have only a verbal description
that time cool people came by - photo by Allen Welch
of it, and who, then, are asked to experience it, first, by joining into it, and thus creating uniquely what they experience as the experience of the activity, that what that we do? It is a test. Everybody supplies their own hurdles. 10 minutes in more or less a groove is achieved.
a valid entry to a larger scope for the question of what sound sounds like

Prelude - Paul Kikuchi - Jesse Olsen Bay, Stuart Dempster, Bill Horist, Paul Kikuchi, Alex Vittum [from Portable Sanctuary]

sleep drizzle still pacific shore
what wakes us

Banned Rehearsal 907 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

missing from my experience of listening back, which was omnipresent in my experience of doing, is the internal monologue of decision making - what one is thinking about what one is doing while one is doing it, an experience unavailable to memory and thus to the recording, which itself is a memory, a trace

we do not play our toy instruments as though they were less than instruments

Wallace, do we hear thee?

as Neal said, we don't know what we are doing, but (as I add) we are listening very carefully as we do it

In the old days the session was over when the cassette tape ran out. In a concession to getting to bed eventually, and especially now that the recording device we use could keep recording for hours and hours, we give ourselves 30 minutes or so, at which point I move toward the device and wait for a spot to push "stop." Once the participants realize that is what is going on, a game ensues. Each sound made is both dare and question. Do you think we're done (punk)? now? now? now? how about - no wait - how about now? or . . . ? If I am patient (which I occasionally am) it can lead to a lengthy improvised-out fade as everybody get smaller and smaller, and smaller and yet smaller.

March 13, 2018
Ariel - Greg Sinibaldi - Greg Sinibaldi, ewi/electronics; Ryan Ferriera, guitar; Ted Poor, drums

For my third pass, in anticipation of a more formal review, I listened to each the tracks one at a time. It's surprising how much difference simply standing up and opening each file separately can make. Oddly, as a whole it seemed shorter, or rather, it was over more quickly than I expected.
1. Arrival of the Bee Box - specific pitch focus is present but not crucial, or not so crucial as touch or breath. tripartite. answered by drumguitar power pounds giant boot stomps Godzilla shrieks stomping giddy giant ewi, airborn, drifts off seeps into undergrounds
2. Lady Lazarus - fancy echo/reverb effect grappling the sound lovingly if not quite gently. interlude.
3. Cut - settling into a groove but just off center, keeping its distance. dropped into the droid factory
4. Lady Lazarus Part II - signals rhythm radio dial short wave chatter insects and bones tiny lizards dismantling machinery hulk radio signals from the underworld as Cocteau's Eurydice into which pours saturate flesh
5. Black Sweet Blood Mouthfuls - reverie massive dance strenuates to ascend falls back weightful impressive craters deep traces a long moody dragon passed by here
6. The Atrocity of Sunsets - drumrattle solo begins, ewi poking at the flesh it cracks open the beast's wings are spread to dry
7. Wintering In the Dark - in a room alone imagining the demimonde as imagination bitters and dries
8. Elm - working down a terraced grade, finger mirror child's play itsy bitsy spider twisting down ponderous grace whales or stone kites overgrown in dense woody talons

In Session at the Tintinabulary

March 11, 2018
Maple Leaf 180311 - Keith Eisenbrey

Neal borrows a bass

a noisy bird at sunrise, and traffic

Banned Telepath 61 Chignik Lagoon School - Aaron Keyt

So far, just rumored to exist. fingers crossed. Intended for what will eventually be Banned Rehearsal 954.

March 12, 2018
Banned Telepath 61 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

Our local go at it

March 14, 2018
Banned Telepath 61 Port Haiden - Aaron Keyt

And a supplement from parts in the far away  northwest

March 15, 2018
Bass Tracks for Fish Distributor and Ruined It - Your Mother Should Know - Neal Kosály-Meyer, bass

Saturday, March 10, 2018



"The mind can't help trying to say something true. Nothing wrong with that, unless it believes in what it says. We become fundamentalists of our own constructions. Perhaps poetry is what saves us from ourselves, from our continuous surrender to the siren of our own voice claiming to tell the truth. The will of the poem to continue, to keep coming back, to leave behind the already said -- a rescue mission from a part of the mind that knows better. But this too is uncertain."
George Quasha "Uncertainties" Open Space Magazine issue 17/18 spring 2015/fall 2015


In Session at the Tintinabulary

March 5, 2018
Gradus 329 - Neal Kosály-Meyer

full to the brim of proceeding or of not proceeding
what of what we have heard can we discover in what we are hearing now?

2nd part opens with entrances
the expanse of it isn't necessary for the bare presentation of the combinations
it is though for the enduring of it, the exploring of it, the surviving of it

repeat a pattern
vary a pattern
go elsewhere from a pattern
go elsewhere from places in it
gambits of mind-making

progressions draw lines or dig ruts

March 6, 2018
Ruined It - Your Mother Should Know - Karen Eisenbrey, drums and vocals; Neal Kosály-Meyer, acoustic guitar and vocals

March 8, 2018
Ruined It - Your Mother Should Know - Karen Eisenbrey, tambourine and maracas; Neal Kosály-Meyer, electric guitar, piano, and glockenspiel

I spent two evenings recording a bunch of tracks for YMSK.

Saturday, March 3, 2018



February 24, 2018
Preludes in Seattle Part 5 - Keith Eisenbrey
Chapel Performance Space, Good Shepherd Center, Seattle

Kam Morrill   Puppet Pieces (2013)
     Make Way for Puppets
     Fanfare for the Common Puppet
     Puppet Heartstrings
     The Puppets Have Left the Building
Benjamin Boretz   Partita (1955)
Keith Eisenbrey   Two Pomes Play (2000)
Ken Benshoof   Patti's Parlour Pieces (2000)
     17 Reflective
     18 Intimate, freely
     19 Waltz
     20 Dark
Keith Eisenbrey   Seventeen Prepuntal Contraludes (1981)
Lockrem Johnson (1924-77) 24 Preludes, op. 50 (1965)
     XVIII Pesante e drammatico
Ken Benshoof   24 Preludes (2003)
     17 free, like dandelion seeds
     18 reflective, questioning
     19 relentless
     20 narrative
Keith Eisenbrey   24 Preludes (2011)
     XVII Lacustrine
     XVIII Mirrored
     XIX Occluded
     XX Amber
Greg Short (1938-99)  24 Tonal Preludes (1966)
     XVII "Arctic Wind"
     XVII "Nocturne"
     XIX "Sonorities"
     XX "Nebula"

For the most part I think I kept this all pretty well together, with the exception, alas, of Ben's Partita, whose contrapuntal parkour leaps got the better of me several times. Miss one rooftop and b'bye. I think I forgot to breathe here and and there.

March 1, 2018
second utterances - Bonnie Whiting & James Falzone
Chapel Performance Space, Good Shepherd Center, Seattle
with <abc> - Afroditi Psarra, Bonnie Whiting, Cameron Perry Fraser
and Radix Ensemble - Robin Holcomb, Ha-Yang Kim, James Falzone, Paul Kikuchi

Prelude - Bonnie Whiting & James Falzone
Null a - <abc>
New York Counterpoint - Steve Reich
Null b - <abc>
The Collect - James Falzone
Lament on Ash Wednesday - James Falzone
Control/Resist - Bonnie Whiting
Null c - <abc>
Postlude - Bonnie Whiting & James Falzone

Professional correctness (these cats know how it's done) in the service of time-line structured sound lists. Post-Experimental Minimalism? I do try to keep an open mind, but, as well played as it was, and it was, I wondered why the sounds were kept so severely in chains. For me, time is not the immutable slate upon which music is writ, the screen upon which it is projected, it is the clay that music shapes, the body with which music dances. I really love how well these folks were playing (damn they're good!) and I honor their fierce engagement (laser eyed), but I felt like I wanted to unlock their cages. Fly free, little bird!

March 2, 2018
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Sarah Bassingthwaighte - Ecco Ensemble - H20

Sarah used an attractive game-spinner score as a lens through which her trio (Stacey Mastrian, Mark Hilliard Wilson, and the composer) concentrated their awareness on the sound of how their sounds were sounding, so as to evoke, in their corporate intent, the sounds of water in several of its forms. For me their intent, and the score's conceit, was drowned by their own intense awareness of the sounds they were hearing themselves make. The ear wins!

S. Eric Scribner - Convergence

"What would happen if" - always a good place to start. My people! Steve putters around with sound files, piling different performances of the same piece on top of each other. The results were full of wafting billows floating free, canons at the willy nilly.

Brooke Richey - Paradox (for string quartet) and Two Nocturnes (for solo piano) [I didn't catch the names of the performers]

Paradox proceeds as a packed series of tightly wadded cylinders. Dense both top bottom and side side. No space for anything but clarity.

Alas, I was not so enamored of the piano pieces. Brooke is just starting out, and all of us, to a certain extent, begin by imitating models. I know I did. I would only suggest that imitating anything in the standard repertoire, and in particular this overpopulated swath of it, should be ventured with great circumspection. It has acquired an odor. It infests everything. There are so many odd-ball chambers of keyboard music to explore! Rope up! Fresh batteries in the headlamps! Spelunk!

Doug Palmer - Doors

He says he's just dinking around with files he found on his computer, but in doing so Doug has created a video/audio piece that starts where Tati left off and creates a dizzyingly surreal conceptual space between ear-world and eye-world. "I stopped just short of melting clocks." DIY for the win.


February 25, 2018
Banned Rehearsal 626 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [December 2001]

shiver rattle ice shiv cymbal
northern dawn slow and low
temple bell speech
emptiness ghostless shaker
rhythm in the wrist
fresh wound
careful of our sounds
setting for a song from the other side of the pond
distance alienation loss antique
O rupture!
heartfelt washboard eloquence modulated to the rattlesnake desert
picking pieces up we move on by invention here:
washtub bass washboard potlids
moving to hand drum pentatonic marimba drums
gentle comfort
big frame reminder drum of deeper than that
tambourine rolls flutish fanfare bowed washtub bass
lidalong spoken here
drum and birdcall
amplify! testify!
(testate. amplate.)

Jacob's Ladder - Bruce Springsteen [from The Seeger Sessions]

great snare drum sound
we get Bruce and snare drum
everything else is mooshed into the mass of phony gospel sound
is a great snare drum though

Banned Rehearsal 790 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 2011]

reedy buzz and electric guitar and zither and drum (low) could loop aye-ever

Heading Home - Denise Glover [from Pathways]

standing stanzas which we cobble to our stance
travel through past

February 27, 2018

The Maydens Song - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

extending the span of notes' speaking
not resolving into its pitch immediately unadorned
time is taken for grace
opens moments up to multiple vectors
as sung tunes are graced with words and words' articulations

Smoke House Blues - Jelly Roll Morton [from Alan Lowe's Really The Blues]

multiple thumb to nose endings fingers wiggling
exaggerated heaviness

One Night of Love - The Voices of Walter Schumann [a Rescued Record]
Advert from the back of the above

just what are your suggesting, you cad?

My Bonnie - The Beatles with Tony Sheridan [from The Beatles Anthology Volume 1]

the boys are having a good time back there

The Weather Forecast - The Master Singers

sodden with syllables and vowels

Unnamed Track 5 - Tillicum Junior High School Band, Bob Runyan, director [from my mom's tape of a concert given March 3, 1971)

there is some jazzy big band music back there somewhere beyond the boomed out bulldozer bass

Hot On The Heels of Love - Throbbing Gristle [from Greatest Hits]

cyclic (cyclified?) elements without much doing with each other
until the vocal seems to turn them into a backing texture of cyclic elements doing with each other
one of TG's smarter compositions and one of Cosi's strongest vocal statements

Banned Rehearsal 72 - Karen Eisenbrey, Keith Eisenbrey, Anna K, and Neal Kosály-Meyer [April 1986]

feedback systems can deprive or corrupt the agency of others, limiting choice
sizes of sounds and sizes of places in which to cram them
a blunt object music
heavy lifting
the everpresent heaterhum
hollow inside
spinning disks like a DJ
the sort of session we allowed ourselves
to allow ourselves to be stuck
to inhabit crud
electroshock dis-therapeutic
some membranes are exceeding tough

February 28, 2018
Drain You - Nirvana [from Nevermind]

the interval pattern, at the open, the Brahms of the E minor symphony in mind
moving to the Pink Floyd of Corporal Clegg
not because of that, necessarily, but rather a sophisticated tune in fact

Banned Rehearsal 438 from DAT - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [November 1996]

Among the earliest digital recordings of BR. It wasn't long after this that we acquired our own DAT and left cassette tapes behind us. Now that I think about, our next live show after this (Banned Rehearsal 440) was recorded digitally, and featured a bank of cassette tape players with mixed outputs from our past coming from speakers that were literally behind us.

ghost voices on the etherwaves
what is a single time?
chimney magnificent
heady brew of backing noise
hindsight to history
not that any path, including ours, was inevitible
but that this was the path we happened to take to get where we got to
prepping for the last live gig of the century

In Session at the Tintinabulary

February 25, 2018
Hail - Keith Eisenbrey
A hailstorm drummed on our metal chimney for a few minutes Sunday afternoon.

Banned Telepath 60 St. Paul Island - Aaron Keyt

St. Paul Island, Alaska, is not near anything much except the chilly expanse of the Bering Sea and vast herds of king crabs. Aaron sent some wind.

February 26, 2018
Banned Telepath 60 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy

We were not near the Bering Sea.

Banned Rehearsal 953 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Saturday, February 24, 2018



February 17, 2018
You'll Do - Rachel Harrington [from Celilo Falls]

a hook
upon which to hang lines
lines that point to the hook
that point to the hook and riff around it
that's what

Gradus 286 - Neal Kosály-Meyer [March 2016]

particular qualities of otherness
not that other
but how other

an interval set is a set of ways that two pitches can sound when compared

odd how suddenly it now sounds like parts of triads
as though a new layer had appeared from where?

applying precise oomph to these notes can effect a sense of modulation
one key sense to another among just only these 3 or 4 pitch classes

merged voices: played voice / space voice

February 18, 2018
Will Yow Walke the Woods Soe Wylde - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

the keyboard setting of a song becomes a staged dialogue of the song it sets
virginal: lute simulator

Black Bottom Stomp - Jelly Roll Morton [from Smithsonian Collection of Classic Jazz]

circus clown juggle act

End of My Line - Woody Guthrie [from Columbia River Collection]

a scene from the electrification of the rural West (recent then and not yet 100 years done)

Mine Or Yours - Chet Baker and Art Pepper [from Playboys]

selling cool elegance
up-to-the-minute expertise

Cry For a Shadow - The Beatles [from The Beatles Anthology Volume 1]

an audition tape instrumental
would you hire this band behind your singer?
Lake Hills ca 1971

Scarborough Fair - Canticle - Simon & Garfunkle [from Parsley, Sage, Rosemary and Thyme]

How very English! To what extent was folk rock's influence on rock in general a bulwark against African-American culture, and to what extent was it an implicit, but near silent, acknowledgement of it? I suppose it would take some subtle tweezers to determine.

Unnamed Track 4 - Tillicum Junior High School Band, Bob Runyan, director [from my mom's tape of a concert given on March 3, 1971]

the muscular West
triumphalist tales we teach our teens

The Sheltering Sky - King Crimson [from Discipline]

a silent journey into the wilderness
a soundtrack
as it passes over the horizon the drum remains last seen
the tallest mast

Spirit In The Night - Bruce Springsteen [from Bruce Springsteen Live 1975-1985]

Mock Myth Romantic Days of Freedom
but sincere, as though everyone was exactly there
sharing shared experience exactly
each desiring so strenuously to be larger than life could be

February 19, 2018

Banned Rehearsal 260 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [June 1991]

at Toad Hall, an echo place

reading from On The Road (Ezekiel vision of Wrath to the West)
cosplaying literarily as angels

Aaron at Toad Hall ca 1991
make sounds like snoring

plunk plunk mbira plunk

not energetic
importing sounds doesn't change that - still not energetic

drunken spouting
each on their own bar stool
into feedback coda

Happy Happy Happy We!

Handel and Shakespeare duel it out powerless
exit clown into my grave
Kerouac returns to close

Gonna Have Fun - The Boss Martians [from 13 Evil Tales]

neo Sun Records sound

February 20, 2018
Ariel - Greg Sinibaldi - Greg Sinibaldi, ewi/electronics; Ryan Ferriera, guitar; Ted Poor, drums

I'll be writing a review of this album soon I hope. These are from my notes of a second listen.

breathing in dense atmosphere or liquisphere deep ocean saturn exhalation bubbles rise irretrievable The Monster caged rattles something in the room [did the first time around too, the shades?] 1st cut has lots of power rock vibe to it downbeats seem clear until you try to latch on

roles: of ewi || of drums || of guitar

or: when it does resolve into power repetitions it doesn't last, it dissolves or just falls apart glueless

chopped sound like dicing attitude-challenging fleas

the stage moves around us to a different room
not moving forward through time from then to now and beyond
sense of looping back without repeating cyclic drones notwithstanding
GS has come stuck in untime

what remains unprocessed the substrate of real life or the encrustation of it upon

certainly nothing light about it nor glib

cats are going a bit bonkers

Ruggles monumentality? hm.

a homogeneity: same? amp system; same? guitar; same? drums? for each cut
has always seemed an alien mindset (my problem though I guess)
or rather: the space is so repletely filled at all moments that we are thrown upon variations in viscosity as a lifeline

ends with gentle quiet

In Session at the Tintinabulary

February 19, 2018
Gradus 328 - Neal Kosály-Meyer

quite the list of notes to begin with, taking up a considerable time in telling them

first sounds all thick close
close wound ivy vines
thick and woody

each either new or a reference or mathematically postulated
folded into the crumple of crumpling time
the exactly knife edged →there←

a compositional stance earnedly arising within a weberberance of further indextualization