Saturday, May 19, 2018



May 15, 2018
Once In A While - Young Fresh Fellows [from Electric Bird Digest]

using post-production sounds as insert drum beat chord hit
falling apart

Double A Growler - The Boss Martians [from 13 Evil Tales]

music for the geeks of instrumental tracks
but as though made for being partial, never intended as a whole
a track to insert for hip hopping
hipping hop?
sample ready

The Last Train to Kosovo - Sinister Kitchen [from Sonicabal 2001]

state lines wander
cities remain
routes vanish

percussion skeletal public service flesh clinging

Gradus 98 - Neal Kosály-Meyer [March 2006]

A's two three five and six can be and are played all at once, but, when played all at once (several times) there are not four countable things but just the one and so are any played?
or, do any exist as individuals until they are shown one by one to so exist?

composition not a whole built of parts but parts emerging from within a whole
or a whole built of parts
so that
the parts emerge within the whole

long space

long long space

ppppppppp poco cresc. pppppp poco cresc. ppp

the tea kettle whistle pops off in the kitchen
only time for a few last long quiet notes

Tomorrow's Flower - Paul Kikuchi - Jesse Olsen Bay, Stuart Dempster, Bill Horist, Alex Vittum [from Portable Sanctuary, Vol. 1]

robust intonation
nothing fancy
nothing inexact
nor the rain
not inexact

May 17, 2018
Gradus 287 -Neal Kosály-Meyer [March 2016]

playing a flirtatious poke game partly coy partly forthright weight shift into thoughtful considerations
experimental, expressive without indication of it
espressivo senza espressivo
without show of it without the theatrical rhetoric of espressivo
that is
if one were to mark the sheet music espressivo then it would come out wrong
a shift in focus (from):: overtone sonorities ::(toward):: pitch sonorities
not exclusive shift, but point of view
crepuscular (late in the)

In Session at the Tintinabulary

May 14, 2018
Gradus 333 - Neal Kosály-Meyer

enough notes in play that we near an edge across which it would not be plain
that pitch-class limitation
is crucial to identity


by this activity we valorize set comparison
(and set creation)
(and set identification)
as the subject matter of music, which it may not be.
drawing circles around things
(distinction as the activity of listening)
"I heard that" as the sine qua non of consciousness
melody unashamed

Sunday, May 13, 2018



May 8, 2018
A Fancie - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

like Spring weather
if you don't like it
wait a few minutes
it will wander into other segments

did Byrd ever write anything that wasn't fancy?

Mama's Angel Child - Papa Stovepipe [from Alan Lowe's That Devilin' Tune]

acoustically inflated at the mid/low guitar range
as though the recording set up created a virtual box
with a virtual hot spot
I was rather taken by the wide ranging tune and by how it was referenced between voice and guitar

Roll Over Beethoven (live) - Chuck Berry

more advertisement for the brand
reckless guitar

Some Other Time - Bill Evans Trio [from Waltz for Debby]

duples answer to start
then wander
but always with eyes fixed on each other

the bass player steps a great distance across the strings
one giant leap for a tune
one piece of cake for the plucker

The 59th Street Bridge Song - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

moves along pretty quick for a song about slowing down
over just like that nothing to it

Unnamed Track 13 - Tillicum Junior High School Band, Bob Runyan [concert of March 3, 1971, from my mom's tape]

somebody playing their recital piece on piano

Someday - Walt Wagner [from Caprice]

a mood
you know
for the big screen

Pretty Words - Elvis Costello [from Trust]

hoisting voice up to the chorus from the verse
can't stay long
nor after

Banned Rehearsal 74 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [May 1986]
But first the Overture.
(hey kids let's play this piece I just wrote in Australia [Retrato de Euchababilla] I'll play the funmaker and we can all caterwaul along)
I had completely forgotten
and yet how marvelously grotesque!
We take pains to sort of match pitch
without being overly concerned with actual success
that is
heavy on the sort of
more like a game

Neal's song Electric Garbage pickin' it up by the bushel

song to dance

In Session at the Tintinabulary

May 7, 2018
Banned Rehearsal 958 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Giddy. We were giddy. Aaron's rubber chicken only made it giddier.

May 13, 2018
Who would True valour see - Keith Eisenbrey - University Temple Chancel Choir, Chris Vincent, director

In the late oughts I wrote a number of hymn tunes to old texts. This one was written in January of
2008. The name of the tune is "Bianca Kaitlin," after a niece. The particular impetus was a conversation I had with our pastor at the time, Rev. Mary Boyd, concerning the well known setting "He who would valiant be." I don't remember anything else about the conversation other than that I decided to set John Bunyan's original words. I did make some effort to write the harmony as square and solid as I could. I was mostly successful, though the way the tune ended up going demanded some challenging internal cadences. Our little church choir sang magnificently. Thank you Chris Vincent for asking if I had anything we might perform and also for doing such a beautiful job with it.

Writing hymns is an interesting experience. As a composer you have to get yourself out of the way of so much. It really isn't about you.

Sunday, May 6, 2018



May 4, 2018
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Prelude and Fugue in G Major - Jeremiah Lawson

J thought that there ought to be a slide-guitar fugue by now. And so now there is. We love how he uses our favorite hymn tunes for raw material. I kept wondering how many guitars he was playing up there.

My Muse and Equal Temperament - Jay Hamilton

tales told on the side
music from the performer's point of view (in that he played cello with his back to the audience)
which is the most interesting edge of this music/text piece as a theater: that we are never certain where within the personal we sit - we don't know the whole story, but we seem to be regarded as knowing the whole story, since here we are telling it.

Lyric Piece and Berceuse - Gavin Borchert

its past slipping under its present
the water closes tenderly over

lingers in languorous murk
languors in lingersome dark
each steps
at length

The Magpie's Shadow (excerpt) - Peter Nelson-King

A suite of aphoristic piano pieces embedded within a staged performance

that is, some of the inside-the-piano stuff, and even more of the outside-the-piano stuff, seem just enough outside as to no longer really count as piano pieces, or rather, that they don't seem to care whether that is what they are counted as.

some of these bits come to be like pieces and some stay bits


April 28, 2018
He Started Building My Mansion in Heaven Today - Rachel Harrington [from Celilo Falls]

nearly straight, as though from the song book
adjusting her delivery just enough to own it completely, no more

Focus (demo of March 22, 2016) - St. Rage

St. Rage is the fictional band in my wife's novel The Gospel According to St. Rage. St. Rage is played in real life by Karen Eisenbrey (my spouse above-mentioned) and Neal Kosály-Meyer. A nice performance marred by some unfortunate technical issues with the recording.

Hughe Ashtons Grownde - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

terraced garden
tendrils twine
immersive aspects

the folks hereby dress well you can tell
and ample growndes they are too

I'll Fly to Hawaii - Brad Gowans [from Alan Lowe's That Devilin' Tune]

Recorded in 1926, I wonder if they were still using a single microphone or not. Either way, this is a marvelously captured balance. They pronounce "Hawaii" to rhyme with "fire" (Fie-yuh). 1926. For how long had it even been possible to fly to Hawaii?

Rockhouse - Roy Orbison [from Sun Records Definitive Hits]

repeat name of song to fade
reminder as to what the name of the song is that you just heard on the radio
so you can buy it

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

I was hearing the attitude they take toward the ostensible tune as distinctly Byrdish, playing off it, filling it out, illuminating it from all sides. This lends credence to the opinion that dramatic-arch-construction is a fatal infliction upon the lyrical. The harmonies act like vowels, making thick tunes that sound like sung lyrics. That aspect is all Evans.

The Big Bright Green Pleasure Machine - Simon & Garfunkle [from Parsley, Sage, Rosemary and Thyme]

For all the ironic veneer of satirical intent, this comes across as a pretty effective advertisement. B/W Kodachrome.

Unlabeled Track 12 - Tillicum Junior High School Band, Bob Runyan [from my mom's tape of a concert given March 3, 1971]

orientalism for beginning band
the Hollywood sound track concept of exotic

Slide - Walt Wagner [from Caprice]

balanced in everything
stands on its feet knees stiff
dream sequence a la Gene Kelly

April 29, 2018
Mutual Arising - Mark Hoover - Seattle Symphony Orchestra, Michel Singher [from a private tape, Spring of 1981]

somewhere between Shostakovich and Ruggles
(contrapuntal thinking is a struggle!)
so legato

Hey Now - Talking Heads [from True Stories]

The rhythm parts are allowed only the time for their pitch to register on the rest of the mix, then they are stifled, stuffed, allowing a more transparent area to remain for the color parts.

Banned Rehearsal 264 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [August 1991]

recorded hot
so that we would distort

not quite like it was before
the time we got it right

(one of those sessions preceded by a span in which we thought we were recording but were not because I forgot to push record/play or (forgot) to turn up the inputs I forget which)

Aaron goes all Beckett

I haven't got a clue and I haven't got a cue
I haven't got a clue and I haven't got a cue
I haven't got a clue and I haven't got a cue
But I got you

(song that trundled in)

topic: now we are making a tape it is what we are doing
in this tape the dictum to play not an instrument upon which you are able is taken literally and the image of its having been taken literally is forefront

How can an instrument be criticized for the scale it plays?
Aaron drifts off in wordpairplay
rattle me bones
wake the dead

an improvised dada opera

DADA APARA :: the absence of orange

It was that I forgot to turn on the microphones. Now we know.

May 1, 2018
Mean Model A - The Boss Martians [from 13 Evil Tales]

music fashioned old so as to demonstrate how well old fashioned music can be played

Springs of Wright - TCOR [from Sonicabal 2001]

a bit from a batch of bits and pieces for mixing with

Eyes On the Prize - Bruce Springsteen [from The Seeger Sessions]

A retelling of Who would True valour see (Bunyan) sung in singsong whisper

Gradus 192 - Neal Kosály-Meyer [May 2011]

measuring musical distances : pitch (all A nats so PC doesn't come up as differential), dynamic, time between and/or time we have waited since the previous and/or duration of the previous overlain by each of the instant, each time (between and among waited-for durations)

gentle iteration up high pointy pokes down lower
then all out

not, first, to please, but, first, to do, to be, to be doing, to do being, if you please
measured to a distance at which it is not clear that what we hear isn't from several disparate times

The regularity of Gradus's appearance in my listening (live) affects my perception of its less regular recorded appearances, in that the recorded appearances do what the live ones also do: reset, recalibrate.

Takur Takur from Dilwal - Pritam [from Bollygood Volume 2]

lively subdivisions atop a pulse

In Session at the Tintinabulary

April 30, 2018
Gradus 332 - Neal Kosály-Meyer

single tones are outliers
as are the undamped
opening then into both
at once
grip relaxed
wallowing sternly in the low notes
expanse and limit
refrain from going on
senza elaboration

May 5, 2018
Lamb Day A - Keith Eisenbrey
Lamb Day B - Keith Eisenbrey
Barn Wall - Keith Eisenbrey

Karen and I spent yesterday on Whidbey Island, which is why this blog is a day late. We attended Lamb Day at Sleeping Dog Farm, near Clinton, Washington, and I recorded two short segments of sound in homage to J. K. Randall's InterPlay cassette side Sheepshearing in Kingston New Jersey also geese and ducks of April 1982. Then we helped my brother, who lives near Greenbank, lift a new barn wall (just the framing).

Saturday, April 28, 2018



April 21, 2018
She's Creepy - The Boss Martians [from 13 Evil Tales]

Imagine if The Sonics' ur-proto-punk The Witch had been written by Paul Revere and performed, by The Raiders, as though they were The Ventures. How Northwest can you get?

Play Station Central - Orion O'Malley Hughes & Lightnin' John Daley Three Turtles [from Sonicabal Vol. 2]

noise not reduced
mega chalkboard skqqqueeeel

microphone held right up to the crater's edge

Caldero del Diablo - Brad Anderson [from Dark Energy - Interstellar Pianos]

bare figurations from the fount of bare figurations

battle ray guns and shields zip zap zzzzingggg

Banned Rehearsal 792 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [May 2011]

music box joplin picks up where it left off in the last episode
we take pine cone turns to speak until distinction is presumed to talk at once

follow each thought pattern as it puts itself together
center on the most difficult
maintain incongruity in a leveling world

rhythm generation
low tones on electric piano
frame drum wash board suspended cymbal
xylophone various gongs and what nots
tasteful use of the pitchbend on the midikeys

The Humma Song from OK Janu - A. R. Rahman, Badshah, Tanishk Bagchi, Shashaa Tirupati & Jibin Nautyal [from Bollygood Vol. 1]

appropriating cultural appropriation
lots of characters to keep track of

April 22, 2018
The Carmans Whistle - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Imagine the englishy words: "Heare the carmans whistle blowe" or the like, in the likeness of the children's round Hear the Lively Sounds of the Frogs in Yonder Pond, which now I imagine one could use as the basis of a Byrd pastiche.

That last simultaneity is a killer.

Graysom Street Blues - Margaret Johnson [from Alan Lowe's That Devilin' Tune]

following each vocal line find the instrumental commentary

Rock and Roll Ruby - Warren Smith [from Sun Records Definitive Hits]

hold tight to the formula
be sure the brand name is clearly visible at all times

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

magical dance of consideration among the trio members

Homeward Bound - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

This is about as tightly written a song as any they produced back in the day. Up there with The Boxer.

April 24, 2018
Unnamed Track 11 - Tillicum Junior High School Band, Bob Runyan [from my mom's tape of a concert on March 3, 1971]

One of those tunes ubiquitous on UHF commercials 100 Favorite Classical Melodies (none of that boring stuff in between)

A Song for Cynthia - Walt Wagner [from Caprice]

off the shelf tune-smithery, pre casio pre-set

Cache Cache - The Who [from Face Dances]

I'm honestly not sure why anyone bothered with this.

Dulcimer Tunes and Anti-Muffins - Karen Eisenbrey [April 1986]

She could have been out partying (I was in Australia) but instead she made this tape. First some tunes then she reads a L'Engle story. Almost finishes it too!

April 26, 2018
Lounge Act - Nirvana [from Nevermind]

It starts with a second or so of Lurchish groan. At the very end is a similarly brief electroid fade-out. These post-production idea bits come across as being distinctly outside the songness of the song (which song I rather like by the by). They are production decisions, or electronic music compositional decisions - in that they force us to take this recording as a recorded object, in contra-distinction to allowing us to accept it as a song that happens to have been recorded for distribution. They echo each other bookend-ishly: a framing device, an Apology, in the old sense, much in the same vein as the arch title. Interesting, but I'm not convinced it does the song any particular favors.

Evil Martian - The Boss Martians [from 13 Evil Tales]

Same pre-ambular idea as LA above, but this time straight out of the novelty song grab bag: a sci-fi sound of yore around which a pastiche of yore is woven.

Sphygmomanometer - Mabuse [from Sonicabal Vol. 2]

The opening hit is allowed to inhabit and breathe, inadvertently highlighting the problem with inserts from outside the song such as in LA and EM above: they tend to either outshine or distract, as though the song were not convinced of its own entityhood. Here the insert is the show, with no song to photobomb its glory.

Banned Rehearsal 701 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [May 2006]
we are waiting for Neal to arrive (he does about 10 minutes in)
me on electric guitar
Karen an various crude bells, whiny wind, washtubbass
there he is, through the door in the left speaker
another guitar amplified, amply modified
lifts Karen back to crude tractor clutch bells
we shred after our fashion
recede to dry bones
scratchy throat

In Session at the Tintinabulary

April 23, 2018
Banned Rehearsal 957 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt


Saturday, April 21, 2018



April 14, 2018
48-Hour Composition Contest - Sounds of Late
Gallery 1412, Seattle

April Showers  - Noel Kennon

As I Sit Here With My Trendy Tea Beverage - Spencer Arias

August Amble, Alaska State Fair - Aaron Keyt

Lullaby - Timothy O’Brien

Minuet in a Minute - JD Davis

Tetractys - Count Constantin Pârvulescu

At The Quiet Limit - Jacob Mashak

Threnody - Jim Knodle

When I Fall - Blaire Ziegenhagel

A lively subset of the younger folks doing their new thing for the community. We were there to hear
Aaron's new piece and were delighted to find that veteran Jim Knodle also had a lovely thing to share. And what fun everyone was having! Nary a clunker in the bunch, lovely performances all around, and the evening ended with silly prizes from the thrift store. DIY is where it's at. I also learned a Chicago slang term for the string bass  - "doghouse" - courtesy of JK.

April 19, 2018
Jaap Blonk
Chapel Performance Space, Good Shepherd Center, Seattle

I was remembered of my introduction, in June of 1982, in the home of Leon Botstein, President of Bard College, to Charles Stein, the protean poet/soundpoet/thought-delver. I was 23, newly dropped onto the East Coast, knowing not a soul for hundreds of miles, still pretty uncertain how the whole find food for oneself thing worked. Ben said "This is Chuck Stein" who stretched out his hand to me and said something very like "djlsji wi! df;focmgkj4 ordkfwsjudpfdjfifi  fififi 'asf;dhslfdsp=-[dgfaf' 1;dap-d da9dre0den,nds;ig'arg ae8id ][dfila;jud dd==gljd;l." Somehow I found this tremendously comforting. My people!

I was remembered of the gibberish stories I told my sons when they were small to make them laugh.

As do many of my favorite people, Jaap talks eloquently with his hands. And his face is an expressive field all on its own.

I was remembered of the scene in Men In Black 2, where K, in amnesious retirement at the Post Office is shown all the space aliens he works with and asked "Why do you think you're so comfortable here?"

and I was quite comfortable here. A joy.


April 14, 2018
Peyote - Bakshish [from Sonicabal 2001]

synthetic didjeridu-ish rhythm drone
over which is added (to complete the picture) a first nations-ish chant
fade out
not unattractive, if somewhat harsh

Gradus 97 - Neal Kosály-Meyer [April 2006]

configurations of pitch sonority sets allowed space to move around and to vanish entirely
receding through the wheels of memory

when sound enters or music enters consciousness it enters a massively complex continually ontologizing organism

and we in turn enter it
because it addresses us

our madly ontologizing consciousness
as a fellow

Stumblin' Man - Youth Rescue Mission [from Youth Rescue Mission]

guitars in the immediate
vocals vary
but generally on stage with the drums

Banned Telepath 46 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [March 2016, for Banned Rehearsal 907]

we woohoo! for Aaron and Jennifer
one strand: a slowly cycling chorale mostly on piano
another: lots of banging on things and lots of things there are to bang upon too!
no sound but isn't precisely drawn in place, transparent to all others
the amplified bits don't overdo their power, but mutter to themselves on the same state
gradations of: pitch <-> noise || presence <-> diffusion || high <-> low || pure <-> complex ||ringy <-> tight ||
intent rubbing audiates surfaces
moan tube gives its what for and enters a conversational space with the atomatone
as the last sounds drift off downstream
as though
but perhaps not
but yes

April 15, 2018
Lord Willobies Welcome Home - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

parts braid filligree with their cherub hands flitting - mind flash on the opening credits of Fractured Fairy Tales

The Downfall of Nebuchadnezzar - Rev. J. C. Barrett [from Goodbye, Babylon]

ecstatic ignition into possession
prophetic proto rap

Rip It Up - Little Richard [collected from Dave Marsh's The Heart of Rock & Soul]

playing the same possession game but with chorus cooldowns keeping it under control

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

such a gentleness in everything, a kind-to-each-other music

Cloudy - Simon & Garfunkel [from Parsley, Sage, Rosemary and Thyme]

#pop #mood for #feel #good

Unnamed Track 10 - Tillicum Junior High School Band [from my mom's tape of a concert of March 3, 1971]

the sort of comic martial march music one might expect of a mechanism at a fair

Tide - Walt Wagner [from Caprice]

quite the echo on that piano!
tin pan
tune smithery
tune pipes

Echoes - Karen P. Thomas - Seattle Symphony, Michel Singher [from a private tape, Spring 1981]

in a cave with dim lamp sense of dread
as is revealed in several parts
until the whole
flute at end as tale within tale to pass us up the ladder
to our seats

Let Me Tell You - Julian Lennon [from The Secret Value of Daydreaming]

either: so full of himself as to be a monster
or: playing a more knowing game
or: a wall

April 17, 2018
Banned Rehearsal 263 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [August 1991]

readjusting our grip on the world at Toad Hall
fall away to deep sedatory
whose weight will press
nearly disappearing
often doing several things
often not adding up
or falling away from adding up


competitive gibberish critter listing

In Session at the Tintinabulary

April 15, 2018
Fish Distributor b/w Ruined It - Your Mother Should Know [mastered from takes made in March 2018]

To be released on Bandcamp, at some point. Not perfect, but this is Seattle. We don't iron.

April 16, 2018
Gradus 331 - Neal Kosály-Meyer

there is a time it takes for a pitch to speak
different for each note
different also
in kind of time
to the duration of each note
and different also
among the various registers
because at the low end and at the high end there is the separate time of each pitch locating itself
as well as their respective times of speaking
and if several are considered together
struck or not together
do the intervals precede the pitches in experience?
and then there are the gradually revealed sonorities of rolling tones
humming space

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