Saturday, October 28, 2017



October 21, 2017
Finnegans Wake Chapter 2 - James Joyce - Neal Kosály-Meyer, with Karen Eisenbrey, percussion, and Jim Knodle, lights
Gallery 1412, Seattle

When the lights are out inside where we are, the lights from back stage leak through the cracks in the wall into the darkness where we are.


October 22, 2017
A Galliardes Gygge - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Concerned with distinctions: common and elite. How close to the surface the common is, how sophisticated is the ornament. All dressed up for court.

Die Kunst der Fuge, Contrapunctus XVII, Rectus and Inversus - J. S. Bach - Lionel Rogg

Bach designs his material so that it does what he wants it to do. The Inversus almost pulls off the Satie trick of having no difference from the Rectus that makes any difference, it is clearly the same piece in every particular that matters. Heaven and earth, up and down, near to each other past touching.

The King of the Zulus - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

Solo impersonations, complete with shticks-aplenty. It can so easily be heard as exactly a blackface act, and they know it, but it is their shoe in the door.

Talking Columbia - Woody Guthrie [from Columbia River Collection]

Musical journalism, he even tries to stay on topic, but he has a knack for wandering off before you realize where he has led you.

Elegy in Memory of Serge Koussevitsky - Howard Hanson - Seattle Symphony, Gerard Schwarz

Fugal, but rolling in heaves and billows, smoothly in billows and heaves. No non sequiturs here. Edges are beveled soft as a lakeside morning. Hints of Wagner and Ravel, Tunes murmur among the voices, veering toward Hollywood grandiosity.

O Sons and Daughters - Williams - Lake Washington Singers, Betty Eisenbrey [from Spring Concert 1961]

Ripped from an LP, from back in the day when you could press just a few for memory's sake.

Good Thing (Remix) - Paul Revere and the Raiders [from The Legend of Paul Revere]

On the fine line between sincere and creepy, in the end it's so blatantly pornographic I am amazed it was allowed on the radio.

Mercedes Benz - Janis Joplin [from Pearl]

Her entire body goes into the foundation of her sound. A cackle to start. She near-rhymes 'poor', 'tired', and 'Lord'.

Silly Love Songs - Wings [a Rescued Record]

The happy version of the opening from Pink Floyd's Money.

a cheery world cartoon
body smoothed out of voice entire
by intent and engineering

classy songwriting though

Hamburger Lady - Throbbing Gristle [from The Best of Throbbing Gristle]

A dial twiddling virtuouso
undulating a bit like ol' heaves and billows himself.
See above.

October 24, 2017
Banned Rehearsal 66 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [March 1986]

We may have started to see Banned Rehearsal 100 in the lights by then.

a furnace hum some
tappings around and some
tapings around ocarina
jingly scrapes

we drag the room and pick up noises as we go
The Boospook Pumpkin
oc or other flute
again cassettes were our effect set
stacked literally and loopilly

dragging the past off the seafloor
sounds of its mechanisms
spring doors clopping shut

the immediate is a surface upon which the past is etched
cut phonographically
we are the vinyl

paperformants (neal's)
as long as it takes
an ur gent mess age from the odd IO re cord industry
Neal names our first brace of kittens


after a political announcement
we stop out to birds
and wind roar train
for the west leaves
in 20 minutes better hurry


Song Three - Infamous Menagerie

Gets that world weary sneery ugly that PIL aimed at but missed.

In Session at the Tintinabulary

October 20, 2017
Construction - Karen Eisenbrey

While at work, Karen recorded several minutes of hammering from across the street.

October 23, 2017
Banned Rehearsal 945 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Only 55 to go before number 1000. We'll probably get there before 2020 if we keep going.

October 27, 2017
The Boospook Story - Karen Eisenbrey

Shortly after we were married (31 years ago this month) Karen made a piece of brilliance, a picture book titled "The Boospook Story". She reads it here,  with preambleous conversation among Isaac, Karen, and Keith Eisenbrey.
The Boospook Stump

Saturday, October 21, 2017



October 17, 2017
Banned Rehearsal 618 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Isabel K, Aaron Keyt, Neal Kosály-Meyer [September 2001]

Another go at my 2001 piece Work Architecture Unity And The, with a pre or proto verbal lecture, a
language fountain in the months immediately prior to lexical formation, with illustrations. As the composer of the score I can't not hear this as a performance of the piece, but I do love how gently it fades from being that into not being that at all.

Pianofortesynth - Brad Anderson [from Dark Energy]

double double toil and trouble
cauldron signal
bubble and sizzle

Gradus 188 - Neal Kosály-Meyer [February 2011]

Number, count, three is big
but four notes five or six
come up (depending on how you parse)
how many ways there are to count (let me . . .
) to group ratio and number

but no rational durational rhythm
that is out the window a distraction
eleven there

proximity in time in adjacency in dynamic et al

order assertions
here, this note
ratios of approximate quantities

Chull - Kapoor & Sons [from Bollygood Volume 1]

patterns of fabrics, like a really great scarf

October 19, 2017

In Session at the Tintinabulary

October 16, 2017
Gradus 323 - Neal Kosály-Meyer

Theoretically, if not practically, it is possible to play each of all the combinations of keys on the keyboard. The quantity is finite, if hyper-dauntingly large. What can't be done is to play any one note in all possible ways. This is what allows Gradus to be an experiment in building an idea of composition, as a practice, from near scratch.

Saturday, October 14, 2017



October 8, 2017
Banned Rehearsal 617 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Aaron Keyt, Neal Kosály-Meyer [September 2001]

toy boats bobbing in the bay
steady state

low organ throb
indicator measures and creates hidden pulse

(great spring sound!)
intersocial anacrusis

agogic peoples
rhythm is a social event

what shifts in the ear when pitches change
the soil the wind the orbit

bell and drum ritual
lightly touched

October 9, 2017
Banned Rehearsal 697 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [February 2006]

several species of guitar
bucket brigade messages
a triangular circle

or tuning to each other in a fluid sense
lovely how it refrains from shredding
even when louder


(long long protracted)


wanders into the casing

October 12, 2017
The Chronicles of Dirty Dick Part 1 - Antique Scream [from The Chronicles of Dirty Dick]

Pink Floyd fade
up to wide
vibrato capable vocal
seriously uptight brings
the forces together
let go
but slowly piece
by piece relax
to allow full
weight to be
thrown around stops
to start again
Preening Bad Boy.

We Are Climbing Jacob's Ladder (Autoheterophony) - Keith Eisenbrey
Like a chorus o' angles! (Karen's comment).

The Barelye Breake - William Byrd - Elizabeth Farr

Finely tuned adjustments over the phrase, section, and movement breaks. Far more category shifts than simple butt joints would intimate. Early sense of variations, or changes: the theme is not a structure but a thread within possibilities.

Die Kunst der Fuge Contrapunctus XVI Inversus  - J. S. Bach - Lionel Rogg

The fugue is an analytical tool for composers, it is used to pry tunes apart. Surgeon: "Stretto! Inversion! Diminution! Sponge! Suction!"

Sweet Little Papa - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

lipwork ornamentation
big music shaped by minute attitudes of the mouth

On The Sunny Side - Don Albert [from Alan Lowe's That Devilin' Tune]

Don Albert
Lovely glow in his voice as it tails off at phrase ends. Pretty mean trumpet player too.

New Found Land - Woody Guthrie [from The Columbia River Collection]

Living in the light of the morning. One of his better poems.

Don't Be Cruel - Elvis Presley [collected from Dave Marsh's The Heart of Rock & Soul]

A ploy or a plea?
from a genre of personal fictions.

The 95th Psalm - Powell Weaver - The Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from Lake Washington Singers, April 11, 1961]

This features my mom's long-time accompanist and friend, Joanne Deacon, and a fine solo by soprano Kathleen Richards.

Good Lovin' - The Little Rascals [collected from Dave Marsh's The Heart of Rock & Soul]

A rhythmic schema
arising from a lively bed
begets variations

Love Ain't For Keeping - The Who [from Who's Next]

This is quite a fine little song, whose impact is diminished by the commercial necessity of bloating it out to stadium size.

Louie Louie - The Stooges [from Metallic 'KO]

Garbage rock in the sense that it doesn't take much technique to make it happen (compare with the fancy guitar playing of the Ventures, for instance). Nearly indestructible, Iggy makes a go at it.

Intermezzi, op. 117 #1 and #2 - Brahms - Neal Kosály-Meyer [from Neal's Recital Tape May 1981]

One among many distinguishing characteristics of European repertoire music: a complexity in the
Screaming Trees
way it proceeds through a phrase. Everything can be broken into parts. How do you break yours?

You Tell Me All These Things - Screaming Trees [from Clairvoyance]

No padded seat on this old bike, just tractor metal cold in the morning.

(A connection here: Steve Fisk, who produced this record, is a friend of Neal's (my brother in-law) from his days at Central Washington University, before I knew him. Small world of local music.)

October 13, 2017
Frogs 910415 - Keith Eisenbrey

(and dogs)

one mass of frog sound shifted toward the right
one soloist closer, to the left
dog is in the distance or several dogs or distances

a tape hiss
and occasional traffic
very faint with hint of pitch
emerging from the noise as proto-hum

(I recorded this from an upstairs window at my folks house near Coupeville, WA, the morning of April 15, 1991.)

distant howl
world guiro
waves of phasing rhythms in soft focus

kitchen talk downstairs
action on the edge of the sound
tink of flatware clock chime

morning breaks pulsing bulbous
flange of air prop traffic
phasing with frog croak waves
a quivering air


we apes converse in clusters of apeclatter
even from upstairs faint as it is
the room resonance of mom & dad's Coupeville kitchen

one could imagine the frogcroaksound as single oraganism's respiration
or the ripply surface of a pond
a jet's hissy roar goes on a long time
making wavelets in the quiversphere

wind roar
an event in the deep deep bass
(big frog!)

Banned Rehearsal 430 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]

ominous biding banshee
raucus and magnificent wail


the longer the held organ tones persist
the more questionable becomes their intonation

squeaky balloon violin stylings
elephant seal bellow soulfulness electric guitar

whatever this is
it is seriously pissed

drops into conversation mood
just cranky
tarzanyell grim march

off again to wander ferocious

In Session at the Tintinabulary

October 9, 2017
Banned Rehearsal 944 - Jennifer Chung, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

We were in a bit of noisy mood I think.

October 11, 2017
October 12, 2017
Focus tracks - St. Rage
Distracted Driver tracks - St. Rage - Karen Eisenbrey, Neal Kosály-Meyer

We did the basics on the 11th, and filled in some extras on the 12th.

Sunday, October 8, 2017



October 6, 2017
Sean Hamilton
John Teske

Chapel Performance Space, Good Shepherd Center, Seattle

Loci - Sean Hamilton

Manipulation of resources in deliberate sequence (the activity). The angle of head on neck is crucial and exact. "My approach to improvisation is as a unique moment in time." (I think that's what he said and I spent a certain amount of time working my head around what that might be meaning). There was a moment where I imagined the surface of a moment's sound had suddenly been frozen into a prolonged static noise. It could have been any of them, but it was this one.

Vector Scores - John Teske - Luke Fitzpatrick, violin; William Hayes, guitar; Evan Smith, saxophone; Neil Welch, saxophone; Maria Scherer Wilson, violoncello

topographies, book ii
short segment of long span (ad:sr)

pulsing as breathing in sleep
animate glow within embers

vignettes of topographies
small framed windows looking out to vast 


move on to the trashfire

growlbigbeasts and shriekbeasts
the congress these sounds make is not proper

nor publically appropriate
but personal, adult, intimate

talk amongst themselves predicated on
their individual identities as such

not in any characteristics that could be measured
by language or money or war

the categories have been blown
up and emptied


October 1, 2017
The Galliarde for the Victorie - William Byrd - Elizabeth Farr

Leaning forward in its chair, excited to show the next irrespresible delight.

Die Kunst der Fuge, Contrapunctus XVI Rectus / Inversus - J. S. Bach - Zoltan Kocsis

Yet another evidence of Bach's long fascination with inversion - turning tunes, counterpoints, entire musical fabrics headside footwards, fact and image.

Lonesome Blues - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

It is only a fistful of practices (riffs, guides, frames) but it is enough to tell near any tale.

Triflin' Gal - Jimmy Revard [from Alan Lowe's That Devilin' Tune]

Surely this went on and on, or would have, had it not been necessary to fit it on a record.

Roll On Columbia - Woody Guthrie [from The Columbia River Collection]

Sickening how anymore the verses celebrating Indian killing are elided, repressed, denied, forgotten. It's so easy just to leave them out.

Sweet Lorraine - Frank Sinatra, The Metronome All Stars [from Alan Lowe's That Devilin' Tune]

He descends down his tessitura with style, stopping at each station, making eye contact, again and again.

Stardust - Ben Webster [from Alan Lowe's That Devilin' Tune]

The heart of the rhythm depends utterly on being able to hear his breaths. Good lesson for singing.

Divertimento - Benjamin Boretz

The midi realization forwards the plainness of the material, flat footed, uninflected neo-classical tune bits. The rhythmic gambits seem pasted on, clumsy images of unexpected or exciting texture tokens. It isn't until well into it that we discover that each just so wrongly bent move, each he can't really have meant that adjustment of the tilt, has left us hanging well out over thin air, wingless, far into the unknown, paddleless.

Vere Languores - Tomás Luis de Victoria - Lake Washington Singers, Betty Eisenbrey [from Lake Washington Singers April 11, 1961]

From my mom's tape. I remember as a small child (I was two, then, but many times, also, afterward) being sent to bed while some of the singers listened to the concert tapes in the living room. The laughter and talk of women, and voices and singing and recorded sound.

Gimme Some Lovin' - The Spencer Davis Group [collected from Dave Marsh's The Heart of Rock & Soul]

Were the drums recorded in a stairwell, the rest in a gym? Crazy.

Me and Bobby McGee - Janis Joplin [from Pearl]

Road song, names and places, evoking Guthrie, Ginsberg, Whitman. A song the story of which is the singing of songs.
And so it goes.

October 3, 2017
Iggy Talks - The Stooges [from Metallic 'KO]

And what after all did they pay for, the chance to throw eggs?

Thela Hun Ginjeet - King Crimson [from Discipline]

The drums surround the scraps of overheard disjointed story. A dangerous place, to the narrator, but the group that  jumped and intimidated were quite clearly acting out of fear as well.

Bottles - Aaron Keyt

Glass panpipe pipery shivery breath inflected pitch. I am blowing bottles in a room. hootch hoot bottle pond pondering empty bottles. Lucieric exploration of a space made both by the room and the recording equipment, heavy on the latter, and less fussy about ideal presentation. Not fussy at all, in fact.

Sittin' On A Pitchfork - Young Fresh Fellows [from Electric Bird Digest]

Beerband mock-ironic feelgood anthem. It may be where I am but I wouldn't have it any other way.

October 5, 2017
Banned Rehearsal 429 - Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]
Karen suggests, upon being informed that she wasn't credited in this one, that this may have been the privately legendary session on a beastly hot day (she being great with child at the time so choosing not to enter the oven) after which I flopped myself down into the plastic wading pool. AHH!

Forward and transparent, that is to say, loud but clear, each sound seems placed into the mix with considered intent. The violated boundary between loudspeakered and unloudspeakered. ((Time's distance allows the opportunity of hearing without self-consciousness. At the time of making one is so focused on one's own part that the whole of the sound is obscured.)) That must be Aaron's synth back there in ear-purge mode. Long loud acoustic notes shift the filling of space by the electric standing sounds. Cassette tape was our effects pedal.

In Session at the Tintinabulary

October 2, 2017
Gradus 322 - Neal Kosály-Meyer

Specifyable intent activity, morphing, alters the parameters. Starting over without rounding off. Simply stop. Pause. Start over. Doesn't clear the palate, it positions memory as perspective. Not a music for ribbons and bows.