Saturday, June 24, 2017



"In short, the composer who has presumed to speak reveals himself in the guise of a speaker who is compelled to compose, with words." Martin Brody "The Age of Milton" Open Space Magazine Special Issue 14 Spring 2012



June 20, 2017
Aku (Bard Chapel Version) - Keith Eisenbrey

Kingston Bridge, ca 1982
Aku exists in several versions, none of them the pristine digital archival copy that might have existed had I had the know-with-all in 1981 to imagine such a thing. The best copy for which I had playback capability was the cassette copy made for me by the listening library folks at the University of Washington. It was this copy that I took with me to Annandale-on-Hudson in 1982 and played for Ben Boretz and my fellow students. Ben thought it could use some space around it so Bruce Huber loaned me the borry of a guitar amp and a second cassette deck, and a couple of hours, so we could play it into the chapel and record the results. By the time I ripped it to digital the recording had deteriorated somewhat, causing a certain amount of wobble.  A long story whose point is simply that Aku, as a personality, seems to actively seek out noise. Perhaps this is why we get along so well.

Exploration of the space-noise continuum. Parts of partials lag behind other parts of partials. Speeds of speaking. The speculative purpose of composition by design is, one hopes, to elicit, out of its designed complexity, unforeheard, undesigned wonders, such as these. Not for the faint of heart. Awesomely cruddy. Puts up a hell of a fight || flicker of light on water || durations hang past rational valuation.

Hey, Mr. Rain (version 1) - The Velvet Underground [from Another View]

Callling down the powers from above, a rain dance in song. Feature: a far more subtle tempo shift than in Heroin.

Banned Rehearsal 247 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [February 1991]

Near Burns, Oregon 1990
Candles burn in the barn fly attracted to flame becomes the wick stories in rhythm sipping around the edge of rhythm's gloss and falling in drunk being drunk. Radio: not atonement theology, but atonement pornography. The radical onslaught. Though even here a compositional tactic: wait till "A" has been forgot then spring "A" on you again and again, playing with the rhythm of forgetting and expectation. Richly sonorous affront on all fronts to professionalism's hegemony. It is important to cease thinking in marketable chunks, sound bites, convenient 12 packs.

June 22, 2017
Heart Attack - Sleater-Kinney [from Call The Doctor]

Almost perfect! Cut the vocal before the last 5 words remind us what song we are hearing and you've got it. Fine Feature: Chorus has a shrill hook nearly unrecognizable as vocal in pedigree.

In Session at the Tintinabulary

June 10, 2017

Banned Telepath 56 170610 Anchorage A - Aaron Keyt

June 18, 2017

Banned Telepath 56 170618 Anchorage B - Aaron Keyt

June 19, 2017

Banned Telepath 56 170619 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy
Banned Rehearsal 937 170610-19 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Steve's Guitar (one of many)

I tried something a bit different in mixing the telepaths together. Rather than plopping Aaron's contributions down in the middle somewhere I simply looped them over the top of our porch session. All Aaron all the time! I figured they came so far to be here they ought to be given several contexts.

Sunday, June 18, 2017



June 11, 2017
Die Kunst der Fuge, Contrapunctus X - J. S. Bach - Zoltan Kocsis

Sequences establish a rhythm of (usually) stepwise motion, allowing cross-rhythms of modulations and quasi-modulations - as though another music were going by in the background at a different tempo.

I love how the grandness of the denouement is fully established within what is really a quite thin texture. We hear it as grand because, in order to hear its logic, we imagine each note as sustaining at full volume - virtual grandiosity with virtual sustain.

Quartet in E-flat Major, opus 76 #6 - Haydn - Amadeus Quartet

Not sure this is really what's happening, but what I wanted to be happening is a sequence of variations occurring within single iterations of a larger theme and variations - both T and V constructed out of shorter Ts and Vs.

June 14, 2017
Birdwell Blues - Nolan Welsh, Louis Armstrong [from Alan Lowe's Really The Blues]

A tale: police harassment. "You know I been here before." Truth.
Don Redman

Trouble Why Pick On Me - Don Redman, Red Allen [from Alan Lowe's That Devilin' Tune]

Unexpected wonders: that voice, those perfectly executed parallel trills thrown in just for fun, showy tonguing, a tightly organized arrangement.

Woke Up This Morning (With My Mind On Jesus) - Roosevelt Graves and Brother [from Goodbye Babylon]

Keeping it lively, everything is slap. Slap guitar slap vocal.

I'm Through With Love - Sarah Vaughan [from Interlude - Early Recordings 1944-1947]

Nothing wrong with this performance (it's flawless) but it fails to convince me, it never lifts off.

Walking My Lord Up Calvary Hill - Wilma Lee and Stoney Cooper [from Goodbye Babylon]

The Passion according to just folks.

A Woman Alone With The Blues - Peggy Lee [from Black Coffee]

Sung as a single thought, a through-composed line. Tubular bells!

Now Is The Hour - Leo Diamond [a Rescued Record]

Rather bizarre, but it sounds like he was quite an interesting guy - trying to make the harmonica acceptable for the hi-fi crowd. The 45 that found me had suffered considerably, with much of the fi scuffed off the top.

Leopard Skin Pill-Box Hat - Bob Dylan [from Blonde on Blonde]

Kind of a mean-spirited blues when it comes right down to it.

Everybody Loves Me Baby - Don McLean [from American Pie]

In spite of his apparent attempt at humorous self-laceration, this still comes across as narrow and airless.

Young Americans - David Bowie [from Changes One]

Thick and taut, a line pulled past where it ought to break but that just won't.

In Session at the Tintinabulary

June 12, 2017
Gradus 313 - Neal Kosály-Meyer

June 15, 2017
Etudes - Keith Eisenbrey

These are five little pieces from 2000 that started life as clarinet duets: "Coiled", "Fragment", "Dance" "Air", and "Misterioso". I arranged them later as piano fingering puzzles. I was in the early stages of working with mod-17 pitch sets, essentially asking myself the question "What would regular music sound like if the modular interval were 17 instead of 12?" So, yes, this is what I think regular music is like.

Jerseyville Illinois - Your Mother Should Know [Karen Eisenbrey, drums; Neal Kosály-Meyer, vocal and piano]

In anticipation of a hoped-for pro-studio recording project I recorded three demo takes.

Saturday, June 10, 2017



June 9, 2017
Zach Tries To Not Ruin His Masters Recital
Brechemin Auditorium, School of Music, University of Washington, Seattle
Zachary Buker, tenor
with Ingrid Verhulsdonk, piano; Yoojeong Cho, soprano; Daniel Frizzell, lute; Denna Good-Mojab, soprano; Sarrah Flynn, flute; Alessandra Barrett, viola; Isabella Kodama, cello; Tyler Kim, violin; Judith Kim, violin, (and the comic relief crew)

In Alto Mare; Stornellatrice; Nevicata - Ottorino Respighi
Fussreise; Verborgenheit; Der Tambour - Hugo Wolf
Lamento; Testament; La vie Anterieure - Henri Duparc
Odi l'aura - Beethoven
Ich und du- Peter Cornelius
Come Again, Sweet Love Doth Now Invite; If My Complaints Could Passions Move; Can She Excuse My Wrongs? - John Dowland
Wilt Thou Be Gone, Love - Stephen Foster
Torna a Surriento - Ernesto De Curtis
l'Ultima Conzone - Francesco Paolo Tosti
Musica Proibita - Stanislao Gastaldon

We were afraid that a late bus would make us late guests, but we made it just minutes before the start. After an opening Marxist shtick (Harpo, that is, in a broadly Buffo vein, [or Victor B, or Professor PS]) to sweep whatever dustcurdles of pretense might lurk in that storied space, Zach proceeded to inhabit each song utterly. Having rid the event of seriousness, the actual performances stood out in stunning relief. As wonderful as the performances were (and they were) it is this aspect of the evening I keep coming back to - a brilliant idea about how to allow each song to stand proud in its own glory, without drenching it first in concert seriousness.

Other thoughts: How wonderful to hear such a voice in an intimate space! His comrades in song were wonderful (though Karen thought his bombshell partner for the Foster was going to give me a heart attack - I survived, feeling no pain). What wonderful characterizations! And impeccable comic timing to boot. Another random image: during the Wolf, oddly, I kept picturing him as the Jack Haley Tin Woodsman - something about the pitch of the voice, and the shape of the face.

All that and there were random prizes (though no puppies) scattered liberally throughout. We ended up with three lovely little saké cups held together with masking tape. When we got home (thanks for the ride, Melissa and Adena!) I deftly crumpled the tape into a loose mass, presented it to Obb the cat for sniffing, let it fall to the floor, moved it twice with my finger. It kept the cats occupied all night.


June 3, 2017
Banned Rehearsal 63 - Keith Eisenbrey, Anna K, Neal Kosály-Meyer [January 1986]

Our third live show: Brechemin Auditorium, University of Washington, January 9, 1986. The first part consisted of pretty much what we had done at our second show in the same space the previous July, but rebranded now as Three Compositions No Breaks. The second part was a set of Sudden Songs:

Bickleton Burger [Keyt]
Hey Hey Hey [Eisenbrey]
The Picture On My Wall [Kosály-Meyer]
I Wanna Girl from Venice California [Eisenbrey]
Instrumental [group]
Electric Garbage [Kosály-Meyer]
Tacoman [Eisenbrey]
Quiet Song [Kosály-Meyer]
Ain' No Easy Woman [Eisenbrey]
Wild Thing [a cover]
and a bonus bit after the audience had cleared out:
Aaronsbundler March [Keyt]

Brechemin 1986
We are weaving through the room accumulating the noise of our devices, filtered through the noise of our devices. Clunky and Clumsy. Seamless we are not. We layer thick, and not with clear lacquers but with ill mixed craft paint and dustcrud. We incant to the muses. First part: We know what we are doing but not what what we are doing will make. Second part: We know what we are trying to make our doing do, but not how to do the doing that does that that we are trying to make our doing do. In the midbit between the parts one can hear Neal and I, separately to different audience groups, holding forth on what we are doing. Spreading the gospel. This episode is, neatly, a concretion of the kind of argument Banned Rehearsal is.

We do DIY with a vengeance. After listening to it all over again after these many years all I could think to myself was "What were we thinking!?" And yet, how grand it is. In many ways I am in awe of our youthful recklessness.

June 7, 2017
losing an eye - Infamous Menagerie

A murky slime-infested dive five rooms back of the swamp. But in a really good way.

Banned Rehearsal 422 DAT - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [April 1996]


June 8, 2017
Banned Rehearsal 610 - Karen Eisenbrey, Keith Eisenbrey, Isabel K-M, Aaron Keyt, Neal Kosály-Meyer

We discuss the failure of the engineer (me) to record the first part of the session. A mix of extreme delicacy and extreme blattiness. Depth of field.

In Session at the Tintinabulary

June 5, 2017
Banned Rehearsal 936 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

Saturday, June 3, 2017



May 28, 2017
We're Almost Down To The Shore - Jimmie Strothers [from Goodbye Babylon]

tune your banjo
to the thrum of the head

tune your voice
to the beeline precision of the string

that is to say, if you want to sing in tune, this is the gold standard

Flo Flo - Sam Donahue [from Alan Lowe's That Devilin' Tune]

what have we with which to speak?
music is our ticket to public consciousness

When I'm In My Tea - Jo Jo Adams [from Alan Lowe's That Devilin' Tune]

among ourselves our own late night comic songs reasserting the creative imperitive

Dinah Washington
I'm A Fool to Want You - Dinah Washington [from Alan Lowe's That Devilin' Tune]

gives PL a run for her money as sexiest voice ever

It Ain't Necessarily So - Peggy Lee [from Black Coffee]

the words themselves wouldn't strike one immediately as torch song material, delivery is everything.

Little Sister - Elvis Presley [collected for Dave Marsh's The Heart of Rock & Soul]

in our history with recorded music rock and roll is simply among the first that capitalized on the hugely increased horsepower available from amplification 

May 29, 2017
I Want You - Bob Dylan [from Blonde on Blonde]

never had a problem with the 'fact' that he doesn't sing in tune - always figured he hit every note he aimed at - gestural intonation

Crossroads - Don McLean [from American Pie]

a patina of heartfelt worldweary depth - one assumes (probably in error) that there is sense to be made of it

Diamond Dogs - David Bowie [from Changes One]

pushes the studio effects on the vocals to the point of being kind of a mess
far from my favorite DB

AKU - midi with reverb - Keith Eisenbrey

the notion of tempo relies on pulse
the notion of expanse relies on itself

my fling with larger than life
certainly brash certainly complete

I'm Gonna Move Right In - The Velvet Underground [from Another View]

game for guitars jamming in turns

Banned Rehearsal 246 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [February 1991]

orchestral violin frenetic flute kalimba far away [are counterpoints a form of criticism?]

N once posited of BR that we don't know what we're doing, that is, we are doing don't knowing, knowing in doing don't knowing, knowingly we do don't knowing

[mic'd a certain way, sul ponticello makes a pretty good imitation of old-time radio static :: what stations can we pick up on the sul pont?]

If anyone cares, this recording was made on a mid 70's Sanyo cassette tape player (still works). The mics were two Realistik PZMs taped to the wall (they still work too) no school like the old school


I'm Not Waiting - Sleater-Kinney [from Call The Doctor]

love the angles at which the verse and chorus and bridge snag each other

May 30,2017
Banned Rehearsal 609 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Isabel K, Aaron Keyt, Neal Kosály-Meyer [June 2001]

barnacles and shore birds crab hiphopbeatbox on the radio waves :: we find our way out of Kammersymphonieland :: that is a gull or several

4 Midi Pieces - Elaine Barkin [from Open Space 21]

coy little pitch bends
playing the part, in a stage drama, of music
a diversely situated spirit
a gnarly timefeel

Figure Study 7 - Keith Eisenbrey

between waiting for possibilities to evaporate and leaving space for others to attack, caught in a strobeflash frozen into time

Pietracatella  - Denise Glover [from Pathways]

love how the tempo discovers itself established

May 31, 2017
Der Kunst der Fuge Contracpunctus X - J. S. Bach - Lionel Rogg

a platformer in more dimensions than are strictly possible

String Quartet in D minor, opus 76 #2 Hob.III:76- Haydn - Amadeus Quartet

to be sub-titled 'the overtly contrapuntal'

No Foolin' Around
June 1, 2017
High Fever - Freddie Kreppard, Cookie's Ginger Snaps [from Alan Lowe's Really The Blues]

synchronized tonguing

Bandit Cole Younger- Edward L. Crain [from Harry Smith's Anthology of American Folk Music]

cautionary tale
voice from the grave
news clip op ed
how fare the outlaw
in this outland?

O Lord I'm Your Child - Elder Otis Jones [from Goodbye Babylon]

preaching as a collaborative endeavor whipping up to singing

Benny's Bugle - Lester Young [from Alan Lowe's That Devilin' Tune]

more o' that fine tonguing together

Ecuador - Stan Kenton [from Alan Lowe's That Devilin' Tune]

ladies and gentlemen, we now give you dynamic deep focus

Deliverance Will Come - Johnson Family Singers [from Goodbye Babylon]

tight homophony square as square is square pulled back at ends of verse
no solo voice (one voice out of many)

Gee Baby (Ain't I Good to You) - Peggy Lee [from Black Coffee]

vibe and bass solos are killer

Midnight Ride - Paul Revere and The Raiders

self promotion and novelty song all at once, and a seed for Bill & Ted

Stuck Inside of Mobile With The Memphis Blues Again - Bob Dylan [from Blonde on Blonde]

hyper singsong delivery opens up compositional space [see above gestural intonation]

Empty Chairs - Don McLean [from American Pie]
Rick Wright

another one that would have been better off without the strings & other claptrap, but not much better

Rebel Rebel - David Bowie [from Changes One]

different readings of the same character, actorly

Sheep - Pink Floyd [from a collection of great dance songs]

lots of room for light show and Rick on the keys. (Karen liked the picture of Gilmour so much I thought I'd give her some more eye candy.)

In Session at The Tintinabulary
May 29, 2017
Gradus 312 - Neal Kosály-Meyer

hillside contours
that one is off like an alien space saucer into disappearance
the waited silence resonance of the holy
last scent of sunset before evening reeks into night

Saturday, May 27, 2017



May 20, 2017
The Magic Flute
Seattle Opera
McCaw Hall, Seattle

When it comes right down to it, I've probably spent more time trying to make something of TMF than Mozart did. And after all that it isn't much more than a very pretty picture book - sex education in a patriarchy.

May 26, 2017
Beverly Crusher
Dead Bars
Barboza, Seattle

What a wonderful evening for people watching downstairs at Barboza! Karen and I, after a lovely dinner at the Tin Table, (up a venerable flight of steps on the second floor of the Odd Fellow Building, one of the few unmistakably grown-up places to be at that end of the hill) staked a place to sit beyond the bar from the stage. We could see both stage and crowd, the scene at the bar, and through two round windows the faces of the newly arriving coming down the stairs. Fine cinema in the play of the small groups of friends mixing. All the young people so beautiful, so awkward. I got to thinking about how Seattleites dress up to go anywhere. For a punk show on the hill you've got to look just right, but that just right also has to look like you just grabbed something out of a drawer.

The bands acquitted themselves well: BC nailed the tempo shifts from song to song (have they heard the Seeger String Quartet?); DB is ever a joy, bubbling with good feeling; B was a like a history lesson, in a really good way - the influences were there, shades of sounds from all over, integrated with great care; R, I want to say sounded like the 80's, but like the actual lived-in 80's, not the "the-80's-are-in-again" 80's.  One of those nights when the party on the stage and in the room are one.

David Gilmour

May 21, 2017
Jean Genie - David Bowie [from Changes One]

Structure bit: how the little rave-up in front of the last chorus sets up the long rave-up-from-below that ends it.

Money - Pink Floyd [from a collection of great dance songs]

A little something for all those guitar aficionados out there, Gilmour laying it out real pretty.

Banned Rehearsal 62B - Keith Eisenbrey, Anna K, Neal Kosály-Meyer [January 1986]

The next day we were performing at Brechemin, and this was the rehearsal for the 2nd part of the show, consisting of 'sudden songs'. That particular project was at an awkward stage, since they weren't part of the regular sessions anymore and we felt that we were performing something from the past instead of something we were doing then. The last 20 minutes or so of the tape are taken up by some collective soul-searching, which is most of the reason I'm not posting this one on soundcloud.

Immediate Impound Zone - Infamous Menagerie

Heldenalto fronts a glorious noise.

May 23, 2017
Banned Rehearsal 422 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [April 1996]

Holding a 40 foot long drowsy dragon puppet aloft. Its parts are not solidly connected to each other, so pushing the whole anywhere is cumbersome. Intricate negotiations until it gels and a long winding down.

Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

This was the last take we did at Jack Straw in May of 2005.

Gradus 91 - Neal Kosály-Meyer [January 2006]

Water dripping in a dark cavern. Silence as discipline, as the act of listening without acting, expounding non-speaking.

May 24, 2017
Missing The Trail - Brian Cobb [from Campfire Songs] - Craig Garretson

Panic! Every strange detail could be an attack.

Banned Telepath 43 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy [February 2016]

Part of what became Banned Rehearsal 903. Scribbling tiny notes on tiny papers.

May 25, 2017
Die Kunst der Fuge Contrapunctus IX - J. S. Bach - Zoltan Kocsis

The slower second fugue makes explicit what we always guessed was going on inside the whole time.

Quartet in D, opus 76 #5 Hob.III:79 - Haydn - Amadeus Quartet

This is intense. One could imagine the late Beethoven quartets as an attempt to do something even half as fine. An insider's music, convulsive, grabs body-mind and wrests it aloud.

Blackville - Hazel Meyers [from Alan Lowe's Really The Blues]

The implicit top-down hierarchy of concert music gets a (deserved) bum rap for its stratification of labor (conductor is in charge, players do what they're told / master and slave). But this more demotic music developed its own hierarchy of function. Rhythm supports melody, everybody knows their place.

I Can't Get Mississippi Off My Mind - The Dorsey Brothers [from Alan Lowe's That Devilin' Tune]

Arrangement as an assertion of control, chaotic forces kept on a leash. Hard high hat cut off.

In Session at the Tintinabulary

May 22, 2017
Banned Rehearsal 935 170522 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

Saturday, May 20, 2017



May 13, 2017
Gamelan Pacifica presents
Lou Harrison at 100 Years:
The Seattle Connection
featuring Gamelan Pacifica and Pacific Rims Percussion Quartet
directed by Jarrad Powell
with guests:
Heather Bentley, viola and violin
Jennifer Caine Provine, violin
Paul Taub, flute
Bonnie Whiting, percussion
Maria Scherer Wilson, cello
Wayward Music Series, Chapel Performance Space, Good Shepherd Center, Seattle

May Rain (1941)
Gending Park Chokro (1976)
Threnody for Carlos Chavez (1978)
Pathetan Wantah, laras pelog pathet lima (in remembrance of Lou)
Ladrang Epikuros (1981-82)
Air in G Minor (1947)
Končerto por la Violono kun Perkuta Orkestro (1959-1940)

mix at
certain edge
of the set of overtones

that particular sort of
slowing down we do at
ends - coded differently
as a structural cue

it turns everything
into a microtonal

the parts rely on each
other not just to
keep together but
to be what they
are within what
they are singing

a particular
way with the
sensibility of
how things wander

it is extraordinary how something so ordinary could be so extraordinary

membrane of a soap-bubble lake
flute swallow-fleet
rippling swift across


May 14, 2017
We're Gonna Have A Real Good Time Together - The Velvet Underground [from Another View]

What we want to hear from the cool: "Join the party!"

Banned Rehearsal 245 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [January 1991]

Jump right in. magnetic tape echo spiral residue reconfigurable membrane morphing drum we can
hear our bodies moving by their occlusion of sound. Hangs in there for a good long time not being music. Try different settings! Fluid transit intention. Now we're plucking and plunking.

My Stuff - Sleater-Kinney [from Call The Doctor]

Female point of view as such, in contradistinction to the more typical pop-sensibility: What from a male point of view the male would love to believe is the female point of view, but probably isn't, at least not straight out, without the slow poison.

Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

The third take from the Jack Straw recording session of May 2005. The reverb, strangely, confines the music, envelopes it, gives it skin and face.

327 - Black Horse [from The Funhouse Comp Thing]

In what social context is this appropriate? War? Riot? Steam Letting? The danger of raw emotional evacuation is that the steaming turd has a social effect, and it accumulates.

Isaiah 60:1-5 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

A recording we made at home in January of last year. What gives the composer in me pleasure is how the accompaniment spotlights the voice, following it closely, like an aura, a glow.

Paradox Bagatelles - Craig Pepples - Sascia Pellegrini

each atom spaced so as to reveal aspects of itself that would otherhow not make impact :: these atoms are all and each clearly about the thing they are all and each saying, spoken clearly :: the sense in which they are a plural of bagatelles is that those animals, those bagatelles, must be all in the sequence, lumpily interspersed, grazing.

May 16, 2017
Die Kunst der Fuge Contrapunctus IX - J. S. Bach - Lionel Rogg

Long tones are short-term drones. A florid fugue plays the surface of a sedate fugue.

Quartet in C Major, Opus 76 #3 Hob. III:77 - Haydn - Amadeus Quartet

Kept safely deep within this very model of a repertoire string quartet (all to be admired and copied): worries, hesitations, concerns. The finale, party crashing, wandered in from some minor key quartet.

String Quartet in F Major, Opus 135 - Beethoven - Amadeus Quartet

Scraps of bits, unaware they are part of any sort of design. Commentary and disagreement. Full of sudden shifts, shortcut modulations, make do with where we have gotten to [in order] to get where we must go. Nothing else quite enflames the soundbox like scribble-bowing, glowing hot.

May 17, 2017
Deep Henderson - Charlie Straight [from Alan Lowe's That Devilin' Tune]

Fat precision. Like a sloppy drunk clearing a pool table to the last spinning ball. No sophistication, but deep for sure.

Easy Come, Easy Go Love - Sunny Clapp [from Alan Lowe's That Devilin' Tune]

Crammed (frat boy phone booth). More fat precision.

Crying Holy Unto The Lord - The Blue Chips [from Goodbye Babylon]

Appropriation of the profane by the sacred, or invasion of the sacred by the profane?

Get Ready for Christmas Day - Rev. J. M. Gates [from Goodbye Babylon]

Digging through the rhythm of language into the substrate of melody - it breaks off just before ignition.

Boyd Raeburn
Over The Rainbow - Boyd Raeburn [from Alan Lowe's That Devilin' Tune]

Runs through more presets than a casio. Every possible arrangement of the tune in quick succession.

It Could Happen To You - Bud Powell [from Alan Lowe's That Devilin' Tune]

Same deal as above, but all by his lonesome. (Chopin!)

My Heart Belongs To Daddy - Peggy Lee [from Black Coffee]

The image of: independence from the beat, as though just talking, except that it never wavers from being exactly where it needs to be. She may be hiding behind the male point of view's desire for what they want the female point of view to be, but she does it while openly dripping the fatal drops into your drink.

Hello Mary Lou - Ricky Nelson [collected from Dave Marsh's The Heart of Rock & Soul]

Star Vocal! Hear it Here! (a blended orchestration of echo effects) Repeat with instruments.

One Of Us Must Know - Bob Dylan [from Blonde on Blonde]

Excuses, excuses.

Vincent - Don MacLean [from American Pie]

Well Don, I'm sorry, but "snowy linen land" is just puke-worthy. Wodehouse had your number decades ago (see "pale parabola of joy".)

In Session at the Tintinabulary

May 15, 2017
Gradus 310 - Neal Kosály-Meyer

Quasi-similar motion (pitch-class nearness by shortest route) as countermotion. Take that, MF! 

Saturday, May 13, 2017



May 9, 2017
The Stampede - Fletcher Henderson [from Smithsonian Collection of Classic Jazz]

The rhythm of our focus is composed into the arrangement - long solos, quick breaks, choruses flipping from instrument group to instrument group (changing channels).

A Lazy Farmer Boy - Buster Carter and Preston Young [from Anthology of American Folk Music]

Drawing attention to our internal presumptions of imminent profanity by the oh so clever near misses. An old trick, still works.

Two Old Maids - Billy Mitchell [from Alan Lowe's That Devilin' Tune]

Among many, another low point in public discourse about sexual orientation: deriding the other as an obscenity.

When Was Jesus Born? - Heavenly Gospel Singers [from Goodbye Babylon]
Mel Powell

Rehearsed so as to sound invented on the spot, but is caught going round and round until it doesn't.

Lover Man - Mel Powell [from Alan Lowe's That Devilin' Tune]

French film noir score, a tone poem with hints of Ellington, Gershwin, or Paul Whiteman.

The Happening - Paul Gonsalvez [from Alan Lowe's That Devilin' Tune]

Nothing fancy in the arrangement, just solo over accompaniment.

Easy Living - Peggy Lee [from Black Coffee]

Wish fulfillment for the 50's man.

February Piece 1961 - Cornelius Cardew - John Tilbury
Cornelius Cardew

I kept thinking how melodious this was, though made of sharp edged sweepings.

Visions of Johanna - Bob Dylan [from Blonde on Blonde]

As in Paul Gonsalvez above, nothing really but poetvoice solo above an accompaniment. Our focus is not to waver.

May 11, 2017
Till Tomorrow - Don MacLean [from American Pie]

Not a horrible song, but would benefit greatly by stripping off the strings and stuff, dialing back the reverb.

Suffragette City - David Bowie [from Changes One]

This plays a kind of strip tease with itself, shedding song parts along the way until it's nothing more than its own hook.

AKU (midi) - Keith Eisenbrey

In 2004 I made this midi version of my 1981 synclavier piece. There are a couple three glitches in the sound - alas, I no longer have that midi box to try and fix it. This version preserves the pitch and time schemes, instrument differentiation, and, at times, the curiously uneven way the sound hangs in the room - move your head ever so slightly and the sound shifts dramatically. Something about standing waves, I presume. It loses some of the subtle envelope and overtone differentials that were in the original (though they didn't really come across all that well anyhow). And I suppose the moment in the original where the sci-fi tanks blast through the church walls is (unfortunately) rather more elegant and nuanced here. The balance is not optimal, but it does gain some sparseness and clarity.

Its internal sense of what it becomes as it goes along is cumulative, like the Sibelius of Tapiola, but a better way to put it is that, it isn't entirely unlike that. It is this aspect of it that I, as its composer, find most gratifying.

In Session at the Tintinabulary

May 8, 2017
Banned Telepath 55 170508 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

Rumor has been floated that Aaron will send some sound from Anchorage, so the full version of Banned Rehearsal 934 will have to wait. Our local sound is here for all it's worth.

Sunday, May 7, 2017



"So when I ask myself a question about thinking about music it devolves naturally into questions about the relationship between understanding and experiencing: not questions, for me, of either/or, but of hierarchy, of the direction of implication, and, to put it crassly, the most basic questions of personal goals and values. Are the ontologies of understanding-structures intercompatible with the ontologies of experiencing-episodes? Are they contingent upon one another, mutually, or in either direction? In another register, I may ask: is aesthetic perception distinct from extra-aesthetic perception, that is, from what I might call analytic perception?" Benjamin Boretz "fourth and long in Baltimore" Open Space Magazine Issue 12/13 fall 2010/winter 2011



May 5, 2017
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

John Kammerer and Rebeka Ko
New Music for marimba + electronics

They partly construct and partly conjure a wall-less but circumambulatable space. Oh so many crannies, meadows, brooks, and glens to explore!

Patrick O'Keefe
Morning Stroll - Emerald City Saxophone Quartet: Barbara Hubers-Drake, soprano; Molly Pond, alto; Harold Rosenkrans, tenor; Jim Glass, baritone

Patrick tells that this piece is about distractions from a stroll. Personally I think that's backwards. For me this was about scattershot distractions surprising themselves in discovering that it is a strolly sort of thing they are doing.

Jeremiah Lawson
Guitar Sonata in A major

A tender memory of a ragtime intimacy.

(On piano the energy of playing notes is vertical to the string - at an arced near-right angle.The face of the sound comes to us reflected off the lid, we hear it as though in a mirror. But here the energy of playing notes is horizontal to the string - across them at a near-horizontal. The sound comes to us directly from the soundboard. We hear its face directly.)

John Teske
ad;sr (vectorscores) - Neil Welch, Evan Woodle, William Hayes

(a short segment of a long space)








May 1, 2017

Die Kunst der Fuge Contrapunctus 8 - J. S. Bach - Zoltán Kocsis

A triple fugue attempts escape velocity through stretto alone.

String Quartet in B-flat Major, opus 76 #4 - Haydn - Amadeus-Quartet

We are addressed as colleagues and familiars.

May 2, 2017
String Quartet in C-sharp minor, op 131 - Beethoven - Quartetto Italiano

This recording was ripped from 1970's vinyl. (The past and its thwipdips.)

wafting smoke falling silk

the camera pans up to fade

the memory of a quartet

broken linear dreamlogic

the past is the price paid for this moment

it earns its odd threads

by sacrificing so many other paths

Saturday, April 29, 2017



"But the willingness to be oneself, outside any mediation, in the immediacy of presence, comes up against two obstacles: the presence of others and the unpredictability of an unstable act." Jean-Charles François "Variations on and for Daniel Charles" Open Space Magazine Issue 12/13 fall 2010/winter 2011



April 22, 2017
Seattle Symphony
Benaroya Hall, Seattle

Symphony in B-flat Major (#5) - Bruckner - Seattle Symphony, Ludovic Morlot, conductor

Thank you Stephanie and Dave for the tickets!

It has been quite some time since I had the pleasure of hearing a Bruckner symphony live, in an adequate hall. The magnitude of sound in play requires space around it in order to articulate its dynamic range. Recordings are all very fine, but the physical space you yourself, as an auditor, are in, is uniquely essential for these works to address you fully.

But it wasn't the sound that struck me this time around (though the local crew performed magnificently), it was the polyvalent transparency between phrases, between lines of ongoing counterpoint, between beginnings of things and middles of things and ends of things, between the symphony and me, that spoke. It was as though an epic timespan, in mid explosion, had been captured in freeze-frame and conjured into being in order to sculpt of negative sound defined by symphonic shards, an explicit silence.

Joseph Adam
Toccata in F Major, BWV 540 - J. S. Bach
Organ Concerto in A minor, BWV 593 - J. S. Bach
Prelude and Fugue in A minor, BWV 543 - J. S. Bach

We were doubly fortunate to finally hear the organ at Benaroya all by itself. I notice they have stopped referring to it in the program by its brand-name. Did the sponsorship contract run out?

April 27, 2017
Your Mother Should Know
Your Mother Should Know, Sarah Pasillas, Alone In Dead Bars, Sun Dummy
Victory Lounge, Seattle

Everybody was playing "acoustic(ish)". YMSK was, with two performers (Neal Kosály-Meyer and Karen Eisenbrey), the largest ensemble of the night. Alone In Dead Bars is John Maiello of Dead Bars, and "Liz" constituted the whole of Sun Dummy. Sarah Pasillas was without apparent alias. The performing area at VL is nothing more than a few square feet of space in front of the window bench, on a level with what would be the mosh pit if it weren't just a place for folks to stand at the end of the bar. The combination, and the friends-of-the-acts-full audience, made for a lovely intimate feel throughout, and not just in the banter between, but in the warm play of conversation that swaddled the performances. I have confessed before: I am a sucker for guitar strumming she-minstrels, so I was not sorry to be there at all, even though it was late for me to be out on a work night. Sarah plays with a near-yodel break between registers, to potent effect. Sun Dummy lives, I think, to lift her voice into a spot behind the mask that evokes oboe or english-horn timbre, a bit like Courtney Marie Andrews, but a few steps lower - more mezzo than coloratura. Hearing Dead Bars songs in this context, without the neo-punk band armor, brought out their more tender, vulnerable aspects. Kind of a trip, actually.


April 25, 2017
Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [take 2 from a recording session at Jack Straw Productions on May 10, 2005]

Part of the pleasure of writing songs, for me, is that it gives me an opportunity to get my compositional jollies - without the self-inflicted intellectually prideful pressure I find when writing for solo piano. In this case, I find all sorts of ways to confuse one voice with another, and to trace multiple non-explicit threads through an otherwise straightforward texture. Must admit, that just toots my horn.

Gradus 90 - Neal Kosály-Meyer [January 2006]

Due to a data entry error I have listened to this twice this same month. I found myself (still puzzling about Bruckner) thinking about silence. I may be misinterpreting somewhat, but in conversation Neal professes to be aiming, in Gradus, at a Cagean concept of silence. Specifically he hopes that no sound made therein would be amiss in a performance of 4'33". But what I was wondering was whether the accomplishment of this is doomed to failure, not because Neal makes 'musical' sounds but because Cage's silence is particular, personal, unique, to Cage, unapproachable outside of his own ear. His verbal explanations and theories about it are no more capable of guiding us to the actual 'it' of it than any other verbal blurble is to any musical experience at all. It can only point at what can't be experienced, report on wonders irrevocably lost.

The Prairie-Grass Dividing - [from Campfire Songs] - Brian Cobb

Paced at first like Korean court music, it accumulates the sounds of everything stowed in the wagon.

Banned Rehearsal 904 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt [February 2016]

Assembled from Telepaths 43, KK&S here in Seattle, Aaron in Summerville, MA. With fine-tipped crayons we scribble tiny textures. Wallace (Aaron's rented spinet) joins in from afar. Quiet plucking of an evening. Drum a long crookedy line. Busy bugs on a forest floor, scattering gently.

In Session at the Tintinabulary

April 24, 2017
Banned Rehearsal 933 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy

Saturday, April 22, 2017



April 18, 2017
Strange Like Us, Your Mother Should Know, Mud On My Bra

Sunset Tavern, Seattle

Strange Like Us consists of: Kyle Sturner, vocals, guitar; Sadie Alley, vocals, keys; and Arna Garcia, drums, vocals. Darling synth sounds and solid playing all around provide a potent platform for Kyle's weaponized trans girl baritone. Add Sadie in parallel octaves for the KO.

Your Mother Should Know is, of course, Neal Kosály-Meyer and his sister (and my spouse) Karen Eisenbrey. This was their first electric show in quite a while. There were some shaky spots here and there, but they pushed through them. Karen got to try out her new headset microphone, and this may have been the first time I remember being able to really hear her vocals clearly.

We have heard Mud On My Bra (Myla and Aria Mud) before, and were eager to do so again. Aside from their stunningly tight ensemble (at the service of some fancy rhythmic games, I might add) I was able this time to attend more to the songs themselves, and to Aria's voice, within the ping of which I noted a hint of Jad Fair.

All that and our parking karma could hardly have been better: practically right outside the door, and free. Thank you so much to the woman who saw us trying to disgorge drums from the car and let us have her space when she left. And we got home before 11!


April 15, 2017
A Matter of Trust - Billy Joel [from The Essential Billy Joel]

BJ has great control, just no range, or sense of timing. Even the count-off is performed, tamed.

Banned Rehearsal 244 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, January 1991

Consisting largely of a reading of A Cat's Life, accompanied by violin scribbles and quiet ocarinal hootings. Aaron provides extensive, if eccentric, marginal commentary. As much as I enjoy listening to my own music, and I do, inserting such a constructed form into an improvisation is an error. It remains, especially in my ear, separate from the on-progressing activity of making it up as we go along. It is persistently deaf to the other people in the room. When I get done Aaron takes over on the piano (or joins me for a 4-hands improv - recollection fails), and a truly awfully awesome sound ensues. Far superior as a part of the activity than my composition could ever hope to be.

Sunset's Wall
April 18, 2017
Taste Test - Sleater-Kinney [from Call The Doctor]

Rotating pitch collections.

Jeremiah 17:5-8 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [from Jack Straw recording session May of 2005, take 1]

Each assay of the tune finds a new place within the harmonic-contrapuntal thicket.

10 Penny - Repeat Offenders [from The Funhouse Comp Thing]

Attention is paid to the hollow moment just ahead of the downbeat.

Isaiah 60:1-5 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [recorded in September, 2013]

This piece demands a more reverberant space to live in than is given here. It needs stone walls and a dome.

Musica Ficta - Sascia Pellegrini - Sascia Pellegrini

It is unclear from the program notes who is playing piano, but I presume Sascia is on the vibraphone. It is striking how 'on stage' the characters are, as they mimic and join, hide and seek, meld and face off.

April 19, 2017
Die Kunst der Fuge Contrapunctus 8 - J. S. Bach - Lionel Rogg

a broad gentle downward slope
a grand mansion overlooking

Symphony in G (#94) - Haydn - Austro Hungarian Haydn Orchestra, Adam Fischer

Cracks in the façade, but not endangering. Rising waters, but not alarming. Yet.

String Quartet in B-flat Major, Op. 130 - Beethoven - Quartetto Italiano
Sunset's Floor

If a quartet is both a unified thing and a suite of several differing things, then disparities of style, affect, and key can participate in a unified thing, and the same techniques with which the participants of a suite of several things can be said to become unified can be said to unify other orders of disparate parts, and each individual participant of a suite can be made of deeply disparate parts. How far can the parts be sundered and yet remain parts of a thing, not alien to it?

Katya Kabanova Act 3 - Janácek - Czech Philharmonic Orchestra, Charles Mackeras, Gabriela Benacková, Dagmar Pecková, Erika Bauerová, Dana Buresová, Eva Randová, Miroslav Kopp, Jozef Kundlák, Peter Straka, Zdenek Harvánek; Czech Philharmonic; Prague National Theatre Chorus;

Ritualized sacrifice, as demanded.

April 20, 2017
Got The Blues - Blind Lemon Jefferson [from Alan Lowe's Really The Blues]

Among many other things, the blues are a medium by which life advice is passed, and the forms and texts are entwined with the society of their arising.

Brown Baby - Eddie Edinborough, Bobby Leecan [from Alan Lowe's That Devilin' Tune]

It's difficult for me to hear what exactly those instruments are. Guitar? If so then it really loves those lower strings. Kazoo? If so, then just possibly the most magnificent kazoo playing ever.

I Don't Want to Make History - Stuff Smith, Johan Jones [from Alan Lowe's That Devilin' Tune]

It isn't just that the singers have been listening to the instrumentalists and vice versa, but they each have also been watching the dancers, and translating the dance into the sung parts of song, and the instrumental parts of song, as well.

Embraceable You - Tommy Dorsey and his Orchestra, Jo Stafford and The Pied Pipers

Lights down low. Something more comfortable.

China Boy - Frankie Trumbauer [from Alan Lowe's That Devilin' Tune]

This one is for the dance floor.

Godchild - Red Norvo [from Alan Lowe's That Devilin' Tune]

Ken Benshoof had a theory about jazz harmony treatises. The puzzlement was that you could read what a practitioner wrote about what they were doing, but it never quite lined up with what they seemed to actually be doing. His theory was that jazz players always played "off" of something: "off" a beat, "off" a chord, "off" a tune. The treatises can only describe beats, chords, and tunes, not the nature of the "off". This is a prime example of the importance of "off" precisely calibrated.

Peggy Lee
I've Got You Under My Skin - Peggy Lee [from Black Coffee]

Skates on the thin ice of a sensibility. The rhythm of her vocals is almost just simply saying the words. There's that ever so precise "off" again. Peggy Lee genius.

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

A parody of teen crooner delivery taken so far over the top as to enter a new land. Those breaks toward the end are composed just to hear the reverb the engineer let loose around it.

Pledging My Time - Bob Dylan [from Blonde on Blonde]

Another parody of sorts, this time of delta blues. Of sorts because also a pastiche of sorts. Of sorts because also a submission, a sacrifice. The long-held harmonica notes toward the end are straight out of Louis Armstrong's toolshed. Then he does his best to conjure a synthesizer with it.

American Pie - Don MacLean [from American Pie]

This was the first record I owned, a gift from my brothers. Having ripped this from my own vinyl copy, it still has all the familiar pops on it. I find it curious, after all these years, that the first popular music song I took to independently of my parents, and that wasn't by Simon & Garfunkle, concerned itself with the past. The music of my time was the music of a past time.

Ziggy Stardust - David Bowie [from Changes One]

And of course, DB presents nostalgia as a point of view, in order to invent a fictional past.

One Of These Days - Pink Floyd [from a collection of great dance songs]

There is, or was, a class of youth, and I imagine they are, or were, mostly boys, for whom these crazy long spacy tracks were "so much better than that pop crap all my friends listen to" that they truly longed to infiltrate the dance mix at the sock hop with one of these behemoths. To that class of youth, these were indeed "great dance songs", and Pink Floyd was by far the best of their purveyors. In that sense this otherwise incomprehensibly titled Best Of Collection could be considered as perhaps their most archly meta of concept albums.

Banned Rehearsal 62A - Keith Eisenbrey, Anna K, Neal Kosály-Meyer [January 1986]

We are being vewy qwiet. Cassette machines sound like ammo lock and load. Gradations of multiple media transference terroir. Literally, mediations. A chorus awakens beneath waters. A cranky slide viewer. How quick the generations to the alien? One? None? The darkly glass. The layered hollows of wind. Crackly undulations. Flames of the fiery furnace. Gloriously spacious, the underlying is revealed. Remove masks. Pluck tendrils. We breathe and allow discussion.

This was side one of a two sided session as we prepared for our third Brechemin outing the next evening. My recollection is that Aaron might have been around, but didn't participate in the concert because he felt that in his absence in Berkeley he hadn't had a chance to properly rehearse. Karen was still living in Tacoma at the time, and wasn't able to come up either. Our second Brechemin show was called "A Short and Simple Concert", and the first part of this new show was essentially a repeat of that one, re-titled as "3 Compositions No Breaks". And that is what you hear on this rehearsal. First, Neal's Hunting and Gathering, then my Trance Butchered Knight for Wurlitzer Funmaker Sprite and tape, finishing with some plucking and singing.

feast on my car - Infamous Menagerie

I'm pretty sure that's the title of the song, but what is sung is clearly "feast on my heart". A manual? A labeled diagram? Every time I hear something by IM they become my absolute favorite band of the 90's.

Banned Rehearsal 421 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [April 1996]

The Funmaker 10 years later (we start in with what we have at hand and see what it makes) up to its old tricks again. Its cruddy reverb is lustworthy. And the Mighty Wurlitzer at its Wurlitzeriest. This sort of lava is hard on the feet. A near unanimity of purpose among some members is narrowly averted.

In Session at the Tintinabulary

April 17, 2017
Gradus 310 - Neal Kosály-Meyer

Fog dark densely grown. (We may not have enough bread crumbs.)
At sea. Billows, birds, whales. Beacon. Stars. Moon. Phosphor.

Saturday, April 15, 2017



April 9, 2017
Die Kunst der Fuge Contrapunctus 7 - J. S. Bach - Zoltan Kocsis
This is a plug

All about the fugal entrances, and how each one opens a new window.

Symphony in D (93) - Haydn - Austro Hungarian Haydn Orchestra, Adam Fischer

Dramatic pauses and uneasy balances. The fart joke falls flat because it only points out what was obvious throughout anyway: dramatic pauses are the subject matter.

Grosse Fuge in B-flat - Beethoven - Amadeus Quartet

A fugue we enter through a hall of inward facing windows.

April 11, 2017
Katya Kabanova Act II - Leoš Janáček - Czech Philharmonic Orchestra, Charles Mackeras, Gabriela Benacková, Dagmar Pecková, Erika Bauerová, Dana Buresová, Eva Randová, Miroslav Kopp, Jozef Kundlák, Peter Straka, Zdenek Harvánek; Czech Philharmonic; Prague National Theatre Chorus

Listening to this music is like reading the expression of an open-book face.

Chock House Blues - Blind Lemon Jefferson [from Alan Lowe's Really The Blues]

I kept wondering if, as has been suggested of the contemporaneous recordings of Robert Johnson, this was recorded at a slower rpm than we hear as playback. There is probably no way to know for sure, but the possibility of it might be determined by a comparison of other recordings. Did his voice always sound so weirdly high? If you bring it down a step or so does his voice sound more like it does in other recordings? Is it a likely guitar key? Can the probable tuning of the guitar be ascertained by figuring out which notes are on open strings? Are there other recordings of the period that we know were sped up, i.e., might it have been a common practice? Is the weirdness confined to this time period (ca 1926)?

Hard Times Stomp - Red Perkins [from Alan Lowe's That Devilin' Tune]
Sheik of Araby - Milt Brown [from Alan Lowe's That Devilin' Tune]

Lovely, fat, almost clarinet-like guitar sound.

Apollo Jump - Luck Millinder [from Alan Lowe's That Devilin' Tune]
Children's Dances - Zoltán Kodály - Jenö Jandó

Classy teaching pieces. The lesson hidden under the fingerwork is about the deftly shifting attention's focus from one voice to another.

April 13, 2017
Just One Of Those Things - Charlie Parker [from The Cole Porter Songbook]

Breathless momentum, stripped down arrangement.
John Verrall

Autumn Sketches - John Verrall - Kimberly Davenport

The ground is solid rock, but neither level nor even. Up is on a different slant than Down. Any attempt at parallel is doomed from the get go.

Ain't No Use - Sarah Vaughan [from The Smithsonian Collection of Classic Jazz]

Precise placement of voice. She dances inside her instrument.

19th Nervous Breakdown - The Rolling Stones [collected from Dave Marsh's The Heart of Rock & Soul]

An instrumental with a backing vocal for an excuse.

99 Lbs - Ann Peebles [from Original Funk Soul Sister The Best of Ann Peebles]

In the same sub-genre as 60 Minute Man. The song is so brief as to barely get started. Perfect at every moment.

Changes - David Bowie [from Changes One]

An assemblage in lieu of a song. Tactic: garble the narrative.

AKU (cassette version) - Keith Eisenbrey - Keith Eisenbrey, Christopher Mehrens

Realized on Synclavier, courtesy of the University of Washington Department of Systematic Musicology. Chris and I spent hours and hours laying down these tracks. The reel to reel master tape deteriorated into something else entirely, so this is the "safety" copy I kept on cassette tape. There was a certain amount of institutional grief involved trying to schedule a time to play this for the composition faculty at our weekly Friday department workshop. Looking back on it now, I have to wonder what I was thinking, to play this for exactly that group of people? Over 30 minutes long, it pretty much forgoes anything like regular musicality in favor it design. The synclavier could only play 8 sounds at the same time, so in a fit of maximization I decided to base the whole thing on a sequence of 8 numbers. This sequence (I've forgotten what it was) determined the relative amount of time each patch would be present in mix, the relative density of notes within each patch-track, various settings of complexity of wave form and envelope for each patch, and (my favorite) the relative amount of time from the end of each patch-track to the end of the piece. The notes were a hodgepodge of things, quotes of myself and others, "that'll do" doodles, and carefully stacked pitch piles. And then I had to arrange it so that there were never more than 8 sounds playing at once. I had charts all over the place.

In Session at the Tintinabulary
April 10, 2017
Banned Rehearsal 932 170410 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy

Steve brought over a little purple guitar and played it.

Saturday, April 8, 2017



April 2, 2017
(I'm A) Road Runner - Junior Walker and The All Stars [collected from Dave Marsh's The Heart of Rock & Soul]

A giant tambourine fronts a precisely on the beat rhythm bunch, around which JW slips.

10538 Overture - The Electric Light Orchestra [a Rescued Record]

Half trying to be artsy, half trying to be dancy. Pseudo-Prog-Pop. I may be wrong, but I imagine it was mostly the backing sound for some kind of stage spectacular.

Anarchy in the U.K. - The Sex Pistols [collected from Dave Marsh's The Heart of Rock & Soul]

The best part of this is the huge massed sound of the band. As for the preening edge lord, he's best taken in small doses.

(I'm A) TV Savage - Bow Wow Wow [from Love, Peace & Harmony - The Best of Bow Wow Wow]

Begging for an MTV type video. Why else would it be at all?

Banned Sectional 6 KEE AK - Keith Eisenbrey, Aaron Keyt [January 1986]

train whistle high rustling springiness moves to frontal attack pushing hard in magnificent rolling time spans
some Tibetans hang out next door
obo roi
we were never shy about pinning the needles
unrecoverable synth patches

a break :: they return (the Tibetans)

slower mood relaxed, intimate
tune accidentally extracted from music box innards (just the tones that happen to over-resonate)

the Tibetans utterly transformed into another species of other entirely
funmaker in top form

takes its time getting into any spot, but once there it is well and truly in that spot

another break :: for a moaningsoftly drone solo

we re-enter the regular world

Drunken Boat - Infamous Menagerie

Rubberband guitar sound matches the pots&pans drums. An effect akin to that of a toy symphony, but here without any sense of archness or spoof.

April 4, 2017
Banned Rehearsal 420 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [April 1996]

Image: tuning up, but nothing like actually tuning up.

Neal and Karen, Bickleton, WA 1996
Image: climbing a rocky snow-blown pitch at high-altitude, footing treacherous, air thin, inches gained in triumph. Each sound without tincture of technique. We hunker into camp while the storm rides us out. Something profoundly heavy about how we feel. The earth pulls in sodden gusts. Morning dawns oppressively, but struggle on we must with Mighty Wurlitzer Hero to pull us on and break us through. We feel lighter somehow, the atmosphere fresh and clear, the scene of troubles fades from beneath us.

April 6, 2017
Jeremiah 17:5-8 (midi) - Keith Eisenbrey

The keyboard part taken by midi harphsichord, the voice by midi flute. It is fascinating how midi de-mediates sounds. The layers are not softened by our mutual bodies' compassions.

Gradus 90 - Neal Kosály-Meyer

After a long wait, a few pokes poke. (twice). Quietly responded to, then conjoined. A hint now and then of presence in silence. 3 notes! Such a richness! Low notes fade into the upper partials echoing the quiet iteration of the higher. It doesn't fade into nothing. It is nothing. Then it is not.

Joys of the Trail - Brian Cobb [from Campfire Songs]

A Rhythm Fight Club. Ends with laughter but not happy. Into the future comrades!

Jesus Loves Me (Autoheterophony) - Keith Eisenbrey

Eight of me singing around an old hymn tune/text. I love the play of sibilance, undulating harmony, and the substrate of breath. Stacking the same voice over itself, here, allows the parts of the voice sound to precipitate - or operates like a centrifuge to separate factors.

In Session at the Tintinabulary

April 3, 2017
Gradus 309 - Neal Kosály-Meyer

Bright lights (just a few) across the moggy gloom.
Rung 2 takes time to put things together, but by the end it is clear that it, time that is, was not together before it got put there.

Saturday, April 1, 2017


There is no end to the tuning of guitars

March 28, 2017
Your Mother Should Know
Victory Lounge, Seattle

Neal and Karen are back in action! The set was stripped down instrumentally (that's Karen's entire kit underneath the mic stand - a bodhrán, a tambourine, and a glow-in-the dark skull shaker) but ramped up vocally. Lots of duet singing, and a strong set list with many new songs, including '68 Chevelle and Jerseyville Illinois. The only disappointments were that we couldn't stay to hear the other bands (it was a Monday night), and my recording didn't turn out well (input too hot). I'm looking forward to their next outing at the Sunset on April 18. That's a Tuesday, but I'm on vacation so I can sleep in. They'll be sharing the bill with Mud On My Bra and Strange Like Us.


March 26, 2017
Katya Kabanova Act I - Leoš Janáček - Czeck Philharmonic Orchestra, Charles Mackeras, Gabriela Benacková, Dagmar Pecková, Erika Bauerová, Dana Buresová, Eva Randová, Miroslav Kopp, Jozef Kundlák, Peter Straka, Zdenek Harvánek; Czech Philharmonic; Prague National Theatre Chorus

Register and voice, within the orchestration, model a consciousness from the inside, as its sensibilities and attentions shift. The structural image is like a cranky, but multiply interfolded, or perhaps like a multiply interfolded Möbius Cranky. Had I one, that would be my bardic name.

March 30, 2017
Deep Henderson - King Oliver [from Alan Lowe's That Devilin' Tune]

What's deep is the metric patterning at play.

Blue Rhythm - Mills Blue Rhythm Band [from Alan Lowe's That Devilin' Tune]

Quick boom chick beat. The multiples pile up differentially on the off and on the on beats.

Hesitation Blues - Milt Brown [from Alan Lowe's That Devilin' Tune]

Both the electric guitar and the fiddle find ways of playing each note out in the yard. The beat stays in the house.
Chu Berry

Blowin' Up A Breeze- Chu Berry [from Alan Lowe's That Devilin' Tune]

A terrain to slalom, skis made of clips of hockety fragments.

Junkman Rag - Luckey Roberts [from Alan Lowe's That Devilin' Tune]

Something artesian, or nancarrowish, about the way this spews out, under pressure.

I Get A Kick Out Of You - Charlie Parker [from The Cole Porter Songbook]

CP starts out playing it straight, only falling into bebop midway through. The piano player has to dive in to pull him out and hold him up til they can get to shore.

A Choral Flourish - Vaughan-Williams - UPS Chorale, Thomas Goleeke

Somewhere in the soprano section of this is my spouse, before we were an item. It isn't really possible, given the size of the choir and the quality of the recording, but I could swear I was picking out Karen's particular ping.

A Sermon, A Narrative, and a Prayer - Stravinsky - CBC Symphony Orchestra, Igor Stravinsky, Loren Driscoll, John Horton, Shirley Verrett

I was getting a peculiar notion of those disjointed tunes, as though they were really just a few notes, straightforward and stepwise, but that each note's pitch qualia was unstable, flipping between quantum states. Observing it, it moves.

In Session at the Tintinabulary

March 26, 2017
Maple Leaf 170326 - Keith Eisenbrey

Spring is leaking into Seattle slowly, so I set out a device in the backyard early in the morning and listened to the tall tales the tall kale told. And crows. And a jet. And other birds. And midway through, someone singing in the distance.