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|
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
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