Playlist

Recorded

September 2, 2017

Cello Concerto - Frank Martin - Concertgebouworkest, Amsterdam, Bernard Haitink, Jean Decroos

Don Quixote in a strange land, in which he may not be harmless. A metaphor has wandered into the future.

My Baby - Janis Joplin [from Pearl]

Deep feedback growlings in the lower strings.

Gimme Danger - The Stooges [from Metallic 'KO]

An altar call.

Advice from Christmas Past - Dead Kennedys [from Plastic Surgery Disasters / In God We Trust Inc.]

The second page of this poem didn't make it, never had a chance.

September 4, 2017
Banned Rehearsal 65 - Karen Eisenbrey, Keith Eisenbrey, Doug Henderson, Neal Kosály-Meyer [February 1986]

Doug Henderson was in town touring with Resistance, so he sat in. A feedback box is created, becoming a limiter, a cage around everything, inescapable, remanding agency, active global control. Into the warzone. Electric Garbage brings us down to dreamstate. Never is not something going on. There's a story about that one.

Lithium - Nirvana [from Nevermind]

Guess which song just now, as I blog, came up in the big random mix of everything. Yep. Spooky. The end is not its beginning nor its beginning its end, rather it sets up a time loop in which one is always.

Banned Rehearsal 428 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer, Anna S [July 1996]

Somewhere between a simultaneity and a timbre, we construct a music around the soundsystem that will play it back. Wild Thing psychedelic. A break in the middle, a long silence that wakes up on the weird side, in a loud mood. Direct to cassette mastering.

September 5, 2017
Banned Rehearsal 615 - Isaac E, John E, Karen Eisenbrey, Keith Eisenbrey,  Anna K, Isabel K, Aaron Keyt, Neal Kosály-Meyer [August 2001]

Yet another fabulous group performance of my evolving score "Work Architecture Unity And The" begins this, with infant Isabel providing perfect babbling. Eventually the clowns arrive (as threatened). Thickness ensues, relaxes into play of aloof o'er-arch. Try again. Full Stop.

High and Inside - Keith Eisenbrey - Keith Eisenbrey [recorded live in Snohomish, October 2010]


I still think of this as being a fairly recent piece of mine, though it's now over 11. A rock solid thought, in spite of its outdated minimalism.

Paul Kikuchi

September 7, 2017
Faster/Still - Paul Kikuchi [from Portable Sanctuary Vol. 1]

Strikes upon the bellgong are not the point of the sound, but are nudges to their singing pitch bend. A delicate distant rustle more and more nearly withdraws: come in, come in, come in, come in, come in. Was that what about it was?

Banned Telepath 44 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [February 2016]


Each agenda a micro-layer revolving cyclic or shifting big-cyclic-like. Lots of no solos at all. (nearly if not perfect).

In Session at the Tintinabulary

September 4, 2017

Gradus 320 - Neal Kosály-Meyer

Register grouping reinforced by pattern/figuration rhythmic/dynamic composition. Each rung is a key, making possible the notion of transfiguration into the wildly distant.

Playlist

Recorded

September 20, 2015
Reach Out I'll Be There - The Four Tops [collected from Dave Marsh's Heart of Rock and Soul]
Maggie May - Rod Stewart [collected from Dave Marsh's Heart of Rock and Soul]

Both of the above songs enter full blown after a completely distinct introduction. TFT use the instrumentation of the introduction as an underpinning that appears in bits and pieces later, but never dissolves into its parts. RS simply juxtaposes his straight-ahead folk-minstrelsy after several mock 17th-century lutish phrases, perhaps suggesting that the song's situation is really just another antique, but decked out now in t-shirt and jeans.

Head On - The Stooges [from Metallic 'KO - Open Up and Bleed]
Sex Bomb - Flipper [from Nancy's Mix]

These songs also paired up nicely. For all their street raw (TS) or sophomoric (F) bluster, the pacing of exactly how events are placed for maximum effect is compositionally right on.

September 22, 2015
Quartet #4 - Elliott Carter - Pacifica Quartet

In order for a rhythm to count as, say, 5 against 7, the receiving ear must count 5 and count 7 and register the frame within which they coincide, else they are simply disjunct pulsings. Our desire to rationalize is exactly that, a desire, that is, something irrational. Success: the grid of meter is vanished. Now must contend with an index-less world.

One7 {The Ten Thunderclaps} - John Cage - Neal Kosály-Meyer

[recorded at the Chapel Performance Space on January 26, 2013 - see my blogpost of January 27, 2013 for my thoughts then]

mutterclaps
munderclaps
intermittently voiced
a world divided into timespans, utterly arbitrary, voided of intentional specific meaning, though the clock-time-driven arbitraritude itself is loaded with something intentional. The speaker projects as far as the interior of his skull. What leaks out is what is left for us. Spoken words residue of utterance. A frontier has been crossed between music and theater, i.e. this is much more like a theater that has a musical intelligence than it is like a music with a theatrical.

In Session at the Tintinabulary

September 21, 2015
Gradus 275 - Neal Kosály-Meyer

NO|W|
|T|HEN
NO|T|
|W|HEN

What might be the sound of a mono-parametric sound? - or what is the conceptual basis of 'event'?

Playlist

Recorded

March 24, 2015
Have You Seen Her - The Chi-Lites [collected from Dave Marsh's Heart of Rock and Soul]

During the talky bit at the beginning the backup choir sloshes around the room. Once it gets going the texture is intricate, baroque.

Raw Power - The Stooges [from Metallic 'KO]

Whatever it was that Iggy was getting out of it, the tribe gets a vicarious thrill like that of watching someone standing on the back of a stampeding bull.

Yvonne, Neal, and Karen - several years ago

Never Been In Love - The (Pre) PKs

Late on the night before Karen left Bickleton for college, when she should have been packing, she recorded this song with her brother Neal and sister Yvonne - a lineup that would only later be called "The PKs" (Preacher's Kids). Double tracking was done on the cheap: instrumentals recorded first then played back into the room (on cruddy equipment) while they sang. On a whim Neal suddenly played one chorus on electric organ, causing a certain amount of dumbstruck sisterly horror. Neal and I had only gotten acquainted that Spring (but were already engaged in the improvisation sessions that became the seeds of Banned Rehearsal), and Karen and I weren't introduced for another year or so - just before I left for Bard - a whole other story.

Stick Around - Julian Lennon [from The Secret Value of Daydreaming]

Perfectly danceable in a bland sort of way. The very essence of overblown polish.

Gerhard Samuel

Concerto for Cello #2 - Henri Lazarof - Philharmonia Orchestra of Cincinnati, Gerhard Samuel, Jeffrey Solow

The orchestra wafts from the solo, and the solo resides within its own incense. Post-Debussian atmospheres coming apart at all possible seams.

On a personal note, Gerhard Samuel lived his last years in Seattle, a valued and beloved part of our new music community. He is missed.



Funeral Music - FoMoFlo [from Amy Denio's Tuto Benne]

Starts slow, ends party. Like New Orleans translated, else-tongued.

March 26, 2015
Banned Rehearsal 597 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Meyer - January 2001

Banned Rehearsal - ca 2001

From the get-go a distinguishing feature of Banned Rehearsal has been that all noisemakers in the room (or out of it) are fair game at any time and for any player. Not to say that we don't on occasion play one instrument for most or all of a session, but it isn't normative. After all these years it is often difficult to remember who made which sounds. It can get puzzling when there are more obvious sound trajectories than there were people in the room, and especially so when it seems clear that an identifiable person is clearly responsible for several noises arising from what must have been opposite ends of the studio. This session is particularly fine, with not a slack moment anywhere.

Sno-King Kung Fu - Head [from The Funhouse Comp Thing]

A brag.

Now All Set - Laura Karpman [from Milton Babbitt, a Composers' Memorial]

Damn but this is fun! Witty in the highest sense, completely un-full-of-itself. A joy of a romp. More like this, please!

In Session at the Tintinabulary

March 22, 2015
Zuckermann 150322
Zuckermann 150322 folded
Zuckermann 150322 folded rubbed  - Keith Eisenbrey

I finished this cycle of solo improvisations early in the morning so that traffic noise wouldn't overwhelm the clavichord. "Folded" means I cut the sound file in half and dubbed the halves together. "Rubbed" means I subjected it to some serious digital manipulation.

Folded Rubbed 150322 - Keith Eisenbrey

As the folded and rubbed versions of my solo improvisations have been collecting I wondered what it would sound like to run them together. That would have made a longer session than I cared for so I interleaved them into this 26 and a half minute file. Spacy stuff!

Duet 150322 - Keith Eisenbrey

New project - improvised duets by dubbing. First up: ocean drum and electric bass.

March 23, 2015
Gradus 262 150323 - Neal Kosály-Meyer

From out of the solution of impulsed sounds a distinct set of pitches precipitates. Two musics at once, intimately related but operating on separate planes.