Playlist

Preface

"Go tell it on the mountain can also mean no one's listening here below, attention!
Slide down your own pole to address the fire that calls you out."

George Quasha - from "Not Even Rabbits Go Down This Hole"

Texts

Live

March 2, 2023

Subvector Colloquy
Tom Baker, Keith Eisenbrey, Leanna Keith, Jim Knodle
Chapel Performance Space, Good Shepherd Center, Seattle

Keith Eisenbrey · Subvector Colloquy 230302

I am deeply grateful to my fellow wizards, Tom, Leanna, and Jim, for joining me in this evening of collective improvisatory spells and incantations. In my fluster I believe I completely messed up Daniel Husser's name when I thanked him for the spectacular graphic. Please accept my apologies  - and thank you for muppetizing us so ably! I also forgot to thank Steve Peters and The Wayward Music Series for the use of the venue - so: Thank you!

graphic by Daniel J. Husser

I have edited out the applause from the recording only because the applauders were so close to the recording device that keeping the applause from clipping would reduce the volume of the music to a less than optimal level.

In listening to what we did after the fact, which I have done now a couple of times, I did my best to step aside from my habitual manner of self-criticism (self-condemnation) by limiting and focusing my thoughts to precise issues. Positively, the greater part of this was wonderful - especially the quartet and my duet with Leanna. I think that there is a technical issue with combining piano with electric guitar that has less to do with "how well we played" than with the contrast of presence between the sound of a piano's sound board and the sound of an amplifier. A solvable problem, but one that would require some experimentation both in engineering the recording and probably with my approach to the keyboard. I like a lot of what I was doing in the duet with Jim, but my playing could have been more sharply focused in spots. Tom, Leanna, and Jim, all, in my ever so humble opinion, played as fabulously as I knew they would. The audience was a great bunch to play for. Their attention was awesome and greatly appreciated by us all.

Recorded

February 25, 2023

Fantasia, Fvb. 234 - Giles Farnaby - Claudio Columbo [from The Fitzwilliam Virginal Book]

a figure can be imitated
in part
starting anywhere

Sonata in A Major, Kk. 222 - Domenico Scarlatti - Pieter-Jan Belder

stuttered cadence
push it through

String Quartet in D Major, Op. 50 #6 - Franz Joseph Haydn - Tatrai Quartet

1
there is no development section in this movement
smaller than the whole
the activity of all moments
is all
of the same kind
and all moments
relate with similar close attention to their surroundings

2
phrases divided by distinct tonal colors
the melodic contour of the first theme
lives in its ability to take on so many harmonic colors
and precurses the dire Allegretto from Beethoven's A Major Symphony

3
a game with deceptive cadences
bluffing at cards

4
a tossing game
with blindfolds

Mazurka in B-flat Major, Op. 7 #1 - Frédéric Chopin - Garrick Ohlsson

character dances
the dancers live
and breathe
and coquette

Lonesome Ghost Blues - Lonnie Johnson [from Really the Blues]

the blues have a companion or daemon
that is a necessary other
to measure the time between the lines

Found a Wonderful Saviour - Golden Gate Jubilee Quartet [from Goodbye, Babylon]

a string quartet for voices

Dark Shadows - Erroll Garner [from Erroll Garner on Dial]

he may be still in love with her
but the song persona comes across as too cocksure of himself to be trusted completely

I Believe - Elvis Presley [from Elvis' Christmas Album]

in crooner mode
each chorus a new adventure in vocal control
not always successful but fun

W.R.U. - Ornette Coleman [from Ornette!]

the double bass line is fabulous
you could lose yourself in it
impersonation
puppetry
everybody gets ample time to really work with all the others
drums pass the baton
to bass
who worries it something fierce

February 26, 2023

I Don't Want To Discuss It - Little Richard [from The Explosive Little Richard]

ownership of women
disguised as devotion
enough song for the sentiment to be clear:
you're mine
you can't leave
end of discussion

April Fools - Aretha Franklin [from Young, Gifted and Black]

playing with texture increments
oodles of fun

Subterraneans - David Bowie [from Low]

experimental
in the sense
of not being in song form
of not being shaped like a pop song
of not being formed of pop song parts
but
what is it positively?
a wallow
an immersion
a bath

Inoculated City - The Clash [from Combat Rock]

the words are placed along a string of notes
not sure the toilet cleaner inset works well for the song
a bit too much like 7 O'Clock News - Silent Night
the song itself is strong
the inset weakens it

Banned Rehearsal 121 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [October 31, 1987]

Keith Eisenbrey · Banned Rehearsal 121 871031

back home at the Greenwood Big House
we sing a glad to see you again song
now as duet with drums violin and shaker
to help along
in a celebratory mood 

a steady pulse can be fine
if it expects nothing of us
including our patience 

kick drum sounds great

a de-regimented drum circle
sudden breaking through
into observing from a distance

shaker and vocal
a smaller time in a smaller room
we move again to tapping 

village life
a parade
a display of wealth and power

story time
begin the story time drone tone

our singing has a tendency to relate itself to the underlying harmony
existing in the space at the time of that singing
we sing in key 

magnifique
ceremonial shaker
ceremoniously late in the evening
where the booms live
the booms bang-out
where booms abide
in their abode 

news flash
then the beer commercial 

"I lie here on my back staring up at the light
thanking the good Lord I share not the cockroach's plight"
(one of Aaron's gems)

Nica's Day - Wayne Horvitz - The New York Composers Orchestra [from First Program in Standard Time]

trombone comes on like a carnival barker
morphing to stage spectacular
master of ceremonies

Explanation of a Long House Song - Johnny Moses [from When the Humans Thought They Were People]

but not the song

Lids Film Layer 1 - Keith Eisenbrey [June 24, 2007]

all spread out
protected from each other by impenetrable nothing
compositionally
working with system noise
this is a very early level take
but it completely aces the fog I was going for in Work / Architecture / Unity / And / The
(could combine?)
(nah)
the I made you jump aspect is too obvious perhaps
but it's a good kind of crass
each burst of noise carries its bell envelopes

Slow Spring - Steve Layton, Peter Thörn, Jérôme Porier, Roger Sundström, Paul Miller [from Shared Circle]

a slow build
nearing very large
view from near orbit

Now I See You Now I Don't - Your Mother Should Know [recorded live at Victory Lounge, Seattle, July 15, 2017]

I don't remember this song at all
it has a nice bite to it

Fine - Star Anna [from Live at Rimbert Illustration]

committed song singing
all the self shows up

February 28, 2023

Walter Erle's Pavan - Giles Farnaby - Claudio Columbo [from The Fitzwilliam Virginal Book]

our voices amble together
along separate paths
swapping figurations

Section Gang Blues - Texas Alexander, Lonnie Johnson [from Really The Blues]

lifted poem
lines
but no bars

The Goo - Boots and His Buddies [from That Devilin' Tune]

poking fun at the dance craze trope
with word play

Steeplechase - Charlie Parker [from The Complete Savoy and Dial Master Takes]

drum breaks
structural signposts
even the little ones

You For Me - Blossom Dearie [from Blossom Dearie]

nightclub sophistication
rhyme play

Hully Gully - The Beatles [from First Live Recordings, Volume 1]

the kids were weary of sophistication

Down On Me - Bob Dylan [from A Tree With Roots]

a sketch

Let The Wind Carry Me - Joni Mitchell [from For The Roses]

chords help keep the lines of the stanzas organized
inventing personae for identifying with

Mannequin - Wire [from Pink Flag]

nondescript bland and blank

Yellow Coat - Screamin' Jay Hawkins [from Frenzy]

variety show
comic delivery
with dance chorus

Sign of the Times - Prince [from Sign of the Times]

embracing the technology of production
thoughts scattered into a dance rhythm

I Can't Believe That You're In Love With Me - Morgana King [from This Is Always]

the song is written
so that a listener won't get lost
the singer composes just within that certainty
the chord cycle helps

Gradus 33 - Neal Kosály-Meyer [December 10, 2002]

what are we listening for and why are we listening for that?
I am listening for insight
into how musical thinking happens
in order to broaden and deepen my understanding
of others' and of my own musical thinking 

three notes are in play
but three-ness isn't at issue in this
grouping yes
acoustic residue yes
duration yes
shaping yes
reiteration yes
digging in
quantity
count
part of grouping
taxonomy of materials

Heaven's Waiting - Curtains For You [from Heaven's Waiting]

cabaret boom-chick stage band

Ask Your Question - Your Mother Should Know [recorded live at Sound Effects Café, Seattle, October 26, 2012]

forgot to sing into the microphone
becomes an awful lot of strumming

Mistletoe Fancy - Three Fingers [from Stocking Stuffers]

for those one and onlies at holiday time

Rounds for Aaron - Keith Eisenbrey [recorded live at The Chapel Performance Space, Good Shepherd Center, Seattle, November 17, 2022]

Keith Eisenbrey · 15 And 16 Rounds For Aaron 210405 [221118]

a sequence of systematic 17-tone shuffles
among two M-transforms
and their registers
spread then
then
to mix them back
then
tight
re-spread
re-pack

March 1, 2023

Fantasia, Fvb. 237 - Giles Farnaby - Claudio Columbo [from The Fitzwilliam Virginal Book]

we accept a figure
and another voice reiterates
but with new results
we are expected to follow everything
even the wiggles

I Love My Mountain Home - Carolina Tarheels [from Turn Me Loose White Man]

banjo
mouth harp
two voices
mouth harp providing color commentary
voices provide sentiment
banjo provides constancy
practiced porch music

Diminuendo in Blue - Duke Ellington [from That Devilin' Tune]

inventing a new orchestration model
similarities to concerto orchestration
the instruments and groups talk to each other across the music
composed out studio fade

Budo - Miles Davis [from 'Round About Midnight]

up tempo cooking

New Home - The Staple Singers [from Hammer and Nails]

slow blues
switches roles between lead voice and commentary voice
a song caught in mid-insurrection

Pat of Mullingar - The Irish Rovers [from The Unicorn]

happy hero of the IRA

You Told Me Baby - Bonnie Raitt [from Give It Up]

lots of percussive effects in the bright registers
gives the band some fun to chew on

Down The Road - Vaughn Eller, Lawrence Eller [from The Art of Field Recording Volume 1]

jaw harp
mouth shape modulation
stands in for chord cycle

Stir The Church, O God Our Father - Christopher Parkening [from Simple Gifts]

just the hymn with some appropriate chords

CCSPSP Group - Arlene, Anna K, JoAnn, Neal Kosály-Meyer, Shaunna [November 16, 1987]

toy piano
tongue drum
guitar
some wood blocks
near immediate resolution to a tempo
indifferently maintained
flute or ocarina
tempo dissolved
a piano
guitar
mind control
but the bunch is unruly
and haywire it goes
thanking goodness
suddenly everybody stops
is quiet but not still
steady beats lock themselves in place
pile on the crescendo
back off the release
Neal must have had his cornet with him to keep things lively
a noise to join
and a didgeridoo
whistling in the last ten minutes is pretty nice

getting with a beat
deflects attention away from the sound one is making
and its effect within the sound in general
toward
how well one is behaving 

a low hum throbs

March 2, 2023

My Beautiful Reward - Bruce Springsteen [from Lucky Town]

this is a pretty nice country song
not overblown as many

In Bush We Rust - Dubious Duo [from Children of Siberia]

a drilling tool
brittle surface
point of contact
exact pressure

Lid Film Bits - Keith Eisenbrey [June 24, 2007]

memory does not serve
but this may simply be the raw take cut into a bunch of (33 of) individual sound bits
this bell and that bell
I maybe reordered them
must have
not sure what criteria I used
the last several seem to be the interstitial sounds of me moving around the room

Pipa - Camarones Orquestra Guitarristica [from Live in Natal]

speed
action
heart pump
drive

I'll Shed A Tear Every Day - Your Mother Should Know [recorded live at The Victory Lounge, Seattle, July 15, 2017]

Bow of Everyone - Michael Bisio, Matthew Shipp [from Flow of Everything]

really gnawing at a tough bone
evening hearth fire
chasing thoughts

In Session at the Tintinabulary

February 27, 2023

Banned Telepath 97 South - Steve Kennedy

Banned Telepath 97 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt

Banned Rehearsal 1071 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Keith Eisenbrey · Banned Rehearsal 1071 230227

I play with my new toy - an electric rubber-band box

February 28, 2023

Sinfonia 1 - Keith Eisenbrey

Keith Eisenbrey · 01 Sinfonia 1 (230228)

I had finished a version of this piece in 2021, revised it considerably last year, and then again this year. Most of my revisions have been cutting measure and notes out and re-composing some of the segments to be more clear and playful with the development of the figuration. 

Postscripts

Skaldmud's Doodle Gallery

some listening journal doodles from 1993

Playlist

Preface

"'My friend Mr. Snodgrass has a great taste for poetry,' replied Mr. Pickwick.
'So has Mrs. Leo Hunter, sir. She dotes on poetry, sir. She adores it; I may say that her whole soul and mind are wound up, and entwined with it. She has produced some delightful pieces, herself, sir. You may have met with her "Ode to an expiring Frog," sir.'
'I don't think I have,' said Mr. Pickwick.
'You astonish me, sir,' said Mr. Leo Hunter. 'It created an immense sensation. It was signed with an "L" and eight stars, and appeared originally in a Lady's Magazine. It commenced --

"Can I view thee panting, lying
On thy stomach, without sighing;
can I unmoved see thee dying
         On a log, 
         Expiring frog!"'

'Beautiful!' said Mr. Pickwick.
'Fine,' said Mr. Leo Hunter, 'so simple.'
'Very,' said Mr. Pickwick.
'The next verse is still more touching. Shall I repeat it?'
'If you please,' said Mr. Pickwick.
'It runs thus,' said the grave man, still more gravely.

"Say, have fiends in shape of boys
With wild halloo, and brutal noise,
Hunted thee from marshy joys,
         With a dog,
         Expiring frog!"'"

Charles Dickens - The Posthumous Papers of the Pickwick Club

Texts

Recorded

December 26, 2022

Freight Train Blues - Bob Dylan [from Bob Dylan]

face pressed tight to the surface of the song
tight pressed into every pore 

Backlash Blues - Nina Simone [from Sings The Blues]

singing from within
rather than desperate to enter

Oh Me Oh My (I'm a Fool for You Baby) - Aretha Franklin [from Young Gifted and Black]

breaks into the blue sky
only to fade
commercial song as single motion vector
a part to place within a set or album
rather than a rounded off completion

The Secret Life of Arabia - David Bowie [from Heroes]

the fascination with the 1001 Nights
fantasizing the fantastic
into the fantasy realms
of an imagined fantasy

Hymn of Christian Joy - Gordon Young - Christopher Parkening [from Simple Gifts]

religious branding
inflicted upon baroque fan-fiction
doesn't improve the experience

All That Heaven Will Allow - Bruce Springsteen [from Tunnel of Love]

a plea
to the powers that be 

seems curtailed as a song though
half a thought

Snake Baked a Hoecake - Mike, Peggy, and Penny Seeger [from Animal Folk Songs for Children]

uses a piano counterpoint
that I suspect was at least based on Ruth Crawford's arrangement

Gradus 24 - Neal Kosály-Meyer [August 20, 2002]

got stuck on the fourth A up
our cues of completion
of restart
of continuing
are all inscribed
on the signal
by the ear
in an image of an agent
that produces the signal
which image
includes
a template
for thoughts
such as we might expect
such an agent
to be projecting thereupon

so
what it comes down to
is our desire
as to what inscriptions we wish to make
upon the experienced signal
and
the amount of control
any of us may have
in that regard
or
the worth of the experience
might be the content
of what listening
to through or against it
is able to reveal of ourselves
of otherwise unavailable aspects of ourselves 

do we have it within ourselves
to listen innocent to our past inscriptions
would there be a reason to do so
or to attempt it
or
would we be necessarily hijacked unawares
better perhaps
to take our past as a given
but
to question it on all points

The Big One - Curtains For You [from Heaven's Waiting]

locally
a reference to the prognosticated major earthquake along the Seattle fault
it's happened before
so there is no reason to suppose it won't repeat someday
tomorrow or in many hundreds of years

Gradus 215 - Neal Kosály-Meyer [October 1, 2012]

proximity within temporal flow
sequence within temporal flow
both strong determinants of grouping
but
which can group differently
thus eliciting multiplex times
and floating plastic geometries
to accommodate them 

why is it forward
that we say time goes?
the metaphor is based on our personal mode of going 

to the extent time goes
exactly
at all
surely it goes in a strictly timewise manner 

if time continues to go
why is it still here?
has it ever been here?
did we miss it ?

music as a tool we grasp to seize a common time

Track 2 - Arbor Towers [recorded live at The Victory Lounge, Seattle, July 15, 2017]

wheels in wheels
cyclic alignment and flux
counting within counting

Banned Rehearsal 1057 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [August 15, 2022]

Keith Eisenbrey · Banned Rehearsal 1057 220815

sound produced by an object existing physically within an environment
is inevitably permeated
by the acoustic properties of its location within that environment 

sound produced by a signal through a speaker
also
but
the signal producing that sound
as such
is not the signal of the sound
it is impervious to
or opaque to
that acoustic environment
in which the sound we hear is heard
verbalization within such a signal
is even worse
the verbal content is opaque to transformation 

personal fact
I would rather hear a drum or flute
than a speaker producing a recording of a drum or flute
the drum is a different sound than a flute
in a way that the sounds of them produced on a speaker
are the same 

the transparence of layers of production
is crucial
the fewer layers the better
the more present to the present occasion 

it isn't just the loss of information and addition of noise

December 27, 2022

Mort, tu es navré - Johannes Ockeghem - Blue Heron, Scott Metcalfe

a song set on top of another
lines spill over their ends
fill the reservoir
and spill over the stanzas
separated by ample space
no reason
dramatically
to move on
no reason
dramatically
not to go on
we go on
without reason

Corranto, Fvb. 203 - Traditional - Claudio Columbo [from The Fitzwilliam Virginal Book]

momentum spills over
into accompaniment
at phrase ends

Sonata in D minor, Kk. 213 - Domenico Scarlatti - Pieter-Jan Belder

austere
paired with ornate
partake
a moment
spun together

Sonata in F Major, Op. 10 #2 - Ludwig van Beethoven - Paul Badura-Skoda

1
the big structural cadences
are a place to get to
through thick and thin
opens by interrupting polite conversation 
plays the am-I-repeating-or-not game
will we ever adventure to a conclusive cadence? 

2
the upsurging
rounds into melody
as it emerges into a new timbre

3
builds until it can hold no more
then bursts
again again again and again

Impromptu in F minor, Op. 142 #1 - Franz Schubert - Alfred Brendel

fluids hemmed by outbursts
carefully diverted
led to partly shadowed lands
bends past the hill
into pleasantness
but
finish in shadow

S.O.L. Blues - Louis Armstrong's Hot Seven [from Hot Fives and Sevens]

clarinet brakes the tempo
romantic/economic partnership
in it for the bucks
taunt
kiss off

Three Pieces for Choir: The Composers Forum Laboratory - Johanna Beyer - The Astra Choir, John McCaughey

comic
sort of
were it not
so wicked

If I Were You - Billie Holiday [from Lady Day: The Complete Billie Holiday on Columbia ]

without apparent fancy singing
relies on the expression of saying

Bluebird - Charlie Parker [from The Complete Savoy and Dial Master Takes]

wordplay
a bebop hiphop connection

A Fool For You - Ray Charles [from Ray Charles]

overtelling it like it is

Sweet Little Sixteen - The Beatles [from First Live Recordings Volume 1]

presumably the original took a while to get to England
so that The Beatles could imitate it
make it big
and feed it back to us

Sunny - Morgana King [from Gemini Changes]

nightclub orchestration
for the more sophisticated crowd
such as might be hanging out in Vegas
and other such watering holes

Half Moon - Janis Joplin [from In Concert]

fill me like the sea
takes it at quite a clip
so that the drift-off at the end spreads out over the flats

Musical Activity in Mexico - Conlon Nancarrow, Charles Amirkhanian [from Conlon Nancarrow Speaks with Charles Amirkhanian]

getting rid of the performer
an idea of this generation's time
long before midi made it accessible to the masses

December 28, 2022

Let X=X - Laurie Anderson [from Big Science]

a series of flat-toned empty-ish stray statements
who is this for?
the too cool for school?
the aspirationally hip?

Banned Telepath 12 D.C. - Aaron Keyt [August 9, 1987]

stubborn doors shouldered open
stay open dammit
find a location
make its noise
wander away
repeat 

its obsession
its return
one part static
another mobile as accompaniment
and tune
sweep it away
chase the bats out
fill the glass with happy bubbles
fill the sink
the tub
the whole pool 

static states
vamping patter
a bell in the distance
chimes
patterns can change into a new pattern
or as complexity increases
can reveal forms from within their workings 

extruding noodles

Fantasia on a Theme by Thomas Tallis - Ralph Vaughan-Williams - English String Orchestra, William Boughton [from Meditations for a Quiet Night]

exoticism of the pious past
lush it up
keep the fire going
effuse at intervals
more legato than my tummy can hold

These Are My Insides - The Humidiflyers [from Humidiflyers 2002]

open door to a magic room
but then spoken word
with chorus
self glorification
cut short

Liebeslied Amended - Benjamin Boretz, Keith Eisenbrey - Keith Eisenbrey [recorded live at University Temple United Methodist Church, Seattle, March 17, 2007]

the opening is the best part of what I amended
though I play it too fast here
far too slavish to the explicit rational values of the notated rhythm
not breathing with the phrase

Dama v rychliku - Stanislav Surin

somewhere between pop and art-song
European art-pop-song 

centered on text elucidation
these words clearly mean specific things
and are sung to make that clear
should one happen to speak Slovak

Banned Telepath 56 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy [June 19, 2017]

drumming privately on the porch
and guitars for crows

the porch is an interesting acoustic
partly inside partly outside
sounding just like a room with a wall and a half missing

texture is persistent
unsettled
constant
disresolving
dabbing paint dots 

music as a quiet but busy place
present as the weather on a nice evening

a roll trills away
under the pressure
of a stick
on a drum head

I'm That Girl - Beyoncé [from Renaissance]

constructed of parts
not clearly a song in song form
though that might be there behind it all
or not
assemblage
through-line not clear
production value maximized

December 29, 2022

Corranto, Fvb. 205 - Traditional - Claudio Columbo [from The Fitzwilliam Virginal Book]

well formed and fully
but what manner of thing is it
that it should be so well formed
and so fully formed
is there a model of something else behind it
does that model arise from within music itself
or from something else
dance
poetry
song
all and more?

You'd Better Mind - Pace Jubilee Singers [from Goodbye, Babylon]

also well and fully formed
here we are clearly being preached at
instructed
but also
an image of being instructed
by an individual and by a society
in the guise of soloist and chorus
a theater

Caravan - Duke Ellington and His Orchestra [from Ken Burns Jazz]

more exoticism of the East
a land far from Europe's
hang-ups
a film score
atmosphere cue

Half Step Down - Coleman Hawkings [from Allen Lowe's That Devilin' Tune]

turns around on its own practice
detail of doing
become structural basis
for a new doing

Medley - Elvis Presley [from Elvis' Christmas Album]

but is it just Silent Night
yup 

a medley of one song

Jet Flight - Sun Ra [from The Futuristic Sounds of Sun Ra]

from when such a thing was shiny and new
so hopeful and stylish
more concerned with being going
than with being formed fully or well 

packed into a tube
pringled

Turn Out The Stars - Bill Evans [from California Here I Come]

forms itself around a song and its continuity
but
within a cultural model
of how an activity
can form itself around a song and its continuity
even when
the song may never have existed
outside that culture

Ferguson Road - Carole King [from Rhymes & Reasons]

anybody's cool sister
reports on her adventures

New York - The Sex Pistols [from Never Mind The Bollocks, Here's The Sex Pistols]

attitude meet and greet
London trashes the Big Apple

The Call Of The Wreckin' Ball - The Knitters [from Poor Little Critter On The Road]

comedy routine
bad ol' boy brag

My Melody - Eric B. & Rakim [from Paid In Full]

studio production swallows song whole
persona as commodity
music structure follows text structure
advertisement and competition
selling selling
commodified commodification
droids making droids
how perverse

Paper Money - Wayne Horvitz - The New York Composers Orchestra [from First Program in Standard Time]

in the notes
a reference is made to a clocklike cadence
which is interesting to me
in the use of the word cadence
what is being referenced
is more in the nature
of what I would call
a figure
or motive
a cyclic tick tock pattern that pervades
a bit like Beethoven's 8th Symphony
but here
we're waiting on time
rather than being pushed along by it

Gradus 25 - Neal Kosály-Meyer [September 3, 2002]

the accent is on graw
the rebound is on doose 

is this that I am hearing well or fully formed?

ordealism
submitting to a regime
by self or other
and here I am listening
that's my ordealist role 

an artifact that arises by means of struggle
artifact
token of skill
evidence 
trace result
scratch
inscription
mark 

what does the struggle impart to the mark?

any score is such a regime
any score is an ordeal in waiting
the question is
to what extent the ordeal stimulates a stimulating response
reverberant stimulation

a stimulus need not be well formed
to be genuine or reverberant

the praxis of music
is to maximize reverberance to stimuli
to become an instrument
an open tool 

respond aloud
response allowed 

Gradus
in this
is a reverberant response
to the infinite's yawp into the void
we yawp
and listen for response
is the void anechoic?
are we yawping clearly and loudly enough?
are we competent to hear the response?

The Diagnosis - Peter Fedofsky [from The City Of Good Neighbors]

viscous
confined
beset
heavy

Sound Check - Your Mother Should Know [recorded live at The Blue Moon, October 4, 2012]

does it still persist?
can we hear what we are doing? 

the stage
being the most difficult place in the whole joint
from which to hear oneself
over the din one is making

A Walk In The Dark - Anxious Arms [from Never Was]

step out the door
the city bursts through you
into your face
pounding your chest
beating your head
slamming your hips
invading your groin

Humbuggy - Keith Eisenbrey [August 19, 2022]

Keith Eisenbrey · Humbuggy 220819

we had just purchased an electric vehicle
which as all do
by Federal regulation
makes noise at low speeds
inside it
one can't really hear it
so
I made a recording of Karen backing out of our driveway
it goes by right to left
into the general noise of day
humming

December 30, 2022

Daunce, Fvb. 206 - Traditional - Claudio Columbo [from The Fitzwilliam Virginal Book]

the horizontal lines come loose
from within the blocky texture

Sweet Story of Old - Bela Lam and His Greene County Singers [from Goodbye, Babylon]

singing in three parts
strictly consonant
mostly open
none of that fancy
old world
dissonant stuff for us 

no sirree

Blue Rhythm Fancy - Teddy Hill [from Allen Lowe's That Devilin' Tune]

parts add to other parts
jump from attachment to attachment

So Easy - Dexter Gordon [from Allen Lowe's That Devilin' Tune]

blues changes
that accelerate harmonic rhythm
to roll around
to the start of the next verse
and apply the brakes

I'm The Guilty One - Jerry Lee Lewis [from Rare and Rockin']

in country mode
big scoops on world
more
door 

piano tremolo stands in for a yodel

Bam - Stevie Wonder [from The Jazz Soul Of Little Stevie]

all the combo sounds
crammed together
in a booth

We Three Kings - The Philadelphia Brass Ensemble [from Festival of Carols in Brass]

by the book brass arranging

Git It Up Or Let Me Go - Bonnie Raitt [from Give It Up]

scolding blues
behave yourself you clod
hootenanny tempo 

California Sun - Ramones [from Leave Home]

if you ain' got that do re mi
but the streets are paved with gold
and the girls are the most

D.M.S.R. - Prince [from 1999]

composition by assembly
leaning into the clean 80s engineering
to push an image of virtual music
twisting around
to engage with its artificiality
now all you ladies scream
so the scream track is spun
a virtual response

In Session at the Tintinabulary

December 2, 2022

Sinfonia 5 - Keith Eisenbrey

Keith Eisenbrey · 05 Sinfonia 5 221202

I finished this piece earlier this month, but wanted to read through it a few times to check the score for errors before making this midi realization.

December 29, 2022

Prelude in B-flat Major - Lockrem Johnson

I finally got this one to bubble along satisfactorily. Lockrem's centenary is coming up in a few years and there is some exciting news coming on that front soon. I  had a long conversation this week with Lockrem's cousin, the guitarist Doug Rice. Plans are afoot and things are happening.

Prelude in G minor - Keith Eisenbrey

Keith Eisenbrey · 22 Prelude In G 110430 [221229]

I have three more of these to record: F Major, D minor, and that pesky G-sharp minor. That latter is close to being ready. I've been working on it for months.

Postscripts

Skaldmud's Doodle Gallery

some listening journal doodles from 1991

Playlist

Preface

"'It must be rather a warm pursuit in such a climate,' observed Mr. Pickwick.

'Warm! - red hot - scorching - glowing. Played a match once - single wicket - friend the Colonel - Sir Thomas Blazo - who should get the greatest number of runs. - Won the toss - first innings - seven o'clock, A.M. - six natives to look out - went in; kept in - heat intense - natives all fainted - taken away - fresh half-dozen ordered - fainted also - Blazo bowling - supported by two natives - couldn't bowl me out - fainted too - cleared away the Colonel - wouldn't give in  - faithful attendant - Quanko Samba - last man left - sun so hot, bat in blisters, ball scorched brown - five hundred and seventy runs - rather exhausted - Quanko mustered up last remaining strength - bowled me out - had a bath, and went out to dinner.'
'And what became of what's-his-name, sir?' inquired an old gentleman.
'Blazo?'
'No - the other gentleman.'
'Quanko Samba?'
'Yes, sir.'
'Poor Quanko - never recovered it - bowled on, on my account - bowled off, on his own - died, sir.' here the stranger buried his countenance in a brown jug, but whether to hide his emotion or imbibe its contents, we cannot distinctly affirm."

Charles Dickens - "The Posthumous Papers of the Pickwick Club"

Texts

Recorded

August 27, 2022

La Volta, Fvb. 155 - William Byrd - Claudio Columbo [from The Fitzwilliam Virginal Book]

opens with a rolled chord
proceeds to explore its extent

Sonata in G minor, Kk. 196 - Domenico Scarlatti - Pieter-Jan Belder

an echo in the next register
even inverted
can be simple
but the next sequence demands explanation 

as the segments get smaller they adhere to their fellows
in other leveled
or larger
segments

Sonata in F-sharp minor, D 571/604/570 - Franz Schubert - Paul Badura Skoda

as though begun by guitar
patterning their several strings
keeps that intimacy
a song of tender passion

loves to modulate
by switching to minor mode
then using that harmony
to take long sideways steps 

gentle domestic parlor world
a serious task to accomplish
but feeling perky about it
on the happy stretches
made it!

Caprice in C minor, Op. 10 - Ludwig Schuncke - Tatiana Larianova

Byronic drama and Kreislerian stagecraft
the piece could end
then there's trouble brewing

August 28, 2022

Neckbones and Beans - Henry Johnson and His Boys [from Allen Lowe's Really The Blues]

recorded in a big empty room
piano pushed to the back corner
you can practically hear dirt in the corners
the vocalist is talking to the band as though we can't hear him
a musician's running commentary

I'll Never Be The Same - Billie Holiday [from Lady Day, The Complete Billie Holiday on Columbia]

beguiled by the sax and piano sobs
one forgets there's a singer
until there she is
gives a reading of the text by singing
removing all ambiguity as to what she means
by saying it in singing it

Dewey Square - Charlie Parker [from The Complete Savoy and Dial Master Takes]

Mr. Parker keeps his melody from coming to earth until he's good and ready

Blue Christmas - Elvis Presley [from Elvis' Christmas Album]

the line that could be drawn
between the pitches on blue
and its rhymes
and the unmistakable sound of 1950s studio backup singers

Do Lord Remember Me - Little Richard [from The King of the Gospel Singers]

the choir remains firmly backgrounded
nice vocal cadenza!

The Great Learning, Paragraph 7 - Cornelius Cardew - The Montréal Scratch Orchestra, Dean Rosenthal

the discord that opens becomes consonant gradually
without anyone varying from their chosen pitch
consonant here
being a consequence
of the deepening of every enthusiast's listening
an internal consonance
embedded within
but independent of
the sounding pitches 

there is a corporate sense of the ensemble breathing as an organism
circular breathing but not quite
more
a glow charged with exhalation and inhalation continually
a mass of breathing being
frictionless
one could say
it was the most consonant dissonance
or the most dissonant consonance
or
that it was the most consonantly dissonant consonance
and continue 

we hear the sound of what they are hearing

Pick It Up - The Babysitters [from The Greatest Songs of Woody Guthrie]

cute

Always Crashing In The Same Car - David Bowie [from Low]

standing in the sci fi throb orchestra

It Ain't Me, Babe - Bob Dylan [from Before The Flood]

he emphasizes the emphatic intent of his emphasises

Shakin' Shakin' Shakes - Los Lobos [from By The Light Of The Moon]

two guitars talking to each other across their rhythm

August 30, 2022

New Waltz - Wayne Horvitz - The New York Composers Orchestra [from First Program in Standard Time]

a rhythm on one and three in three
with the swung impression of a steady pulse
as though one and three
and three and one
were each a matching duration
allows fascinating cross-rhythms

Requiem Offertorium - Johannes Ockeghem - Ensemble Organum, Marcel Pérès

lyrical polyphony leaves imitation behind
or partakes at an angle
or along a weaving curve
the vertical is alive and flows through the horizontal

August 31, 2022

Gradus 15 - Neal Kosály-Meyer [May 21, 2002]

we ascribe to the performer of those shapes we hear
the intent to make those shapes
likewise
we admit a desire in ourselves
to hear shapes
to ascribe intent
purpose
we hear it
therefore
they must have intended it
we hear what we desire to hear
inflected by the incoming signal
as perceived by our desires
to perceive
listening becomes
to this extent
a negotiation
between our desire to perceive intent
and the sound that  presumed intents launch
into the shared space
as sound

Mountains and Waters - Jarrad Powell - Jessika Kenney, Jarrad Powell [from Stonehouse Songs]

where does the lexical/syntactical content of the text sit within this song
a series of statements
proceeding steadily like water in a brook
reading themselves calmly in florid script
on fine paper
excellently lit
completely aestheticized

Forever Young - Your Mother Should Know [recorded live at the Comet Tavern, Seattle, July 29, 2012]

here the lexical/syntactical content of the text is locked into a framework of stanzas
poetics up front where you can see them

UFO - Lures [from There's No Pressure]

open with the unaccountable electronical sound
then pile on the rock and roll
also
adhering to the framework of stanzas as above
but less effort expended on articulating the words
so
partakes of a kind of aestheticization
also
the calligraphy of the text is as important as the words
how they are rather than what they are

Banned Telepath 87 Samish Island High Tide - Jennifer Chung, Aaron Keyt [June 5, 2022]

a beep among the birds and breeze
periodical periodicality at a strange distance
not quite among the birds
but clearly in the breeze

Alman, Fvb 156 - William Byrd - Claudio Columbo [from The Fitzwilliam Virginal Book]

a dance must be grounded and square
so that the company can count 

Clarinet Wobble - Johnny Dodds [from Allen Lowe's Really The Blues]

quivers like jelly would sing
the plucked guitar is exactly where it wants to be
in exactly the swing it wants to swing

Love In Vain (DAL 402-4) - Robert Johnson [from The Complete Recordings]

schematic troubles told as a tale
with two lights on behind
blue light was the blues
and the red light was my mind

Time - Mary Ann McCall [from Allen Lowe's That Devilin' Tune]

the man I go for won't relax
because if he does he'll get the axe 

sultry
barely
double
entendre

My Ship - Miles Davis [from Miles Ahead]

dockside late at night
the melody drifts into the chords' gentle harbor swells

Where Is Tomorrow - Sun Ra [from The Futuristic Sounds of Sun Ra]

just groovin' down the street
in the world of tomorrow

More, More, More, Of Your Love - Bob Brady [a Rescued Record]

all hook and falsetto
kick it up a step just to goose the ending
better quit before anyone realizes that's all we got

Stay - Pink Floyd [from Obscured By Clouds]

the point of a chord in a chart
is to be only different enough to clarify the stanza structure
if it sticks out
or alarms
you have screwed it up

Start To Move - Wire [from Pink Flag]

music as a means of clarifying an attitude with salutary brevity

September 1, 2022

Born, Not Asked - Laurie Anderson [from Big Science]

how does this text sit within its music statements
parts of a story overlaid rather baldly
as though printed without personality
speaker shielded from scrutiny
and certainly from unfolding
inert

Assembly Rechoired 25 - Karen Eisenbrey, Keith Eisenbrey, Karie P [May 16, 1987]

Keith Eisenbrey · Assembly Rechoired 25 870516

the big red bag of fun dumped upon the floor
all our toys to share with our guest
like kids would
inventory organized by whim and fancy
diffuse

This Can't Be Love - Morgana King [from This Is Always]

because I feel so well
the text (Rogers & Hart)
is a twisted sentiment that shares the stage
the band swings for real
this is too sweet to be love

Free Xone - Janet Jackson [from The Velvet Rope]

in the place of specifically personal expression of each member of the band
we have technical prowess of the producer and minions
resource display
whatever explicit message the text might have
is washed away in a flood of exuberantly flagrant money

Can't Hold Us Down - Christina Aguilera, Lil' Kim [from Stripped]

playing with hockets in the vocal
studio trickery
dropping their own names

Sputnik Love 01 Mixdown 02 - Keith Eisenbrey [February 20, 2007]

clearly closer to the source signal
recognizable instruments
I may have divided a Banned Rehearsal into segments and stacked them

St. Andrews Night - Benjamin Boretz, Dorota Czerner [from Open Space 29]

lexical/syntactical content of the text
disappears into the text
witnessed by flutes
percussion sounds
which also disappear into the text
they're not asleep
they vanish

You Ruined It When You Hugged Me Back - Your Mother Should Know [recorded live at The Victory Lounge, Seattle, April 27, 2017]

just voices
on account of that traffic light

pieces - Kaley Lane Eaton - Kaley Lane Eaton, Tom Baker [from Cedar]

an apology
that is
in the old sense
an explanation
of one's progress
or passage

In Session at The Tintinabulary

August 29, 2022

Banned Rehearsal 1058 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer

Keith Eisenbrey · Banned Rehearsal 1058 220829

gathered once more upon Anarcadia
there was a bat in the sky
acrobatting

Postscripts

Skaldmud's Doodle Gallery

some listening journal doodles from 1990

Playlist

Preface

"If there is anything outside of language

it cannot be said that there is.

But there is.

Is there?"

- Benjamin Boretz "(Postscripts)"  from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"

Texts

Streaming

May 5, 2021

University of Washington Faculty Live Stream

Cristina Valdés

For Piano Alone in Four Parts (2009) -   Wayne Horvitz

Otra vez (2019) - Melia Watras

Shimmer, Tree | In Memoriam Jonathan Harvey (2014) - Kotoka Suzuki
I. Like a gentle wind

Mano a Mano (1997-2007) - Carlos Sanchez-Gutierrez
I. Chorale
II. Bajo Punteado
III. Genghis 
IV. Ariles de Campanario
V. Ariles y más Ariles

méditations sur le piano 8 (carillon) (2019) - Eva-Maria Houben

Mística (2003) - Tania León

I must applaud enthusiastically
jumping up and down
shouting yes yes yes yes
whenever a performer performs music by people they have actually met and spoken to, and so, on top of her usual hyper-focused musicality, this program was a fine selection of her own music, fully owned.
heaven.

Horvitz -
groups relate to groups
across a boundary
a provisional thesis
concerning a way of thinking
abut how it might go
boundaries have flavors that form patterns

Watras -
like wasps
again
a domestic drama

Suzuki -
thimble thumbs
multiple independent motions
multiple independent still points
fingernails
without pressing

Gutierrez -
playful hands
full of playful
a figurational technician

Houben -
so bogglingly lovely
I wrote nothing down

León -
engaged in the physical gestures of the playing of it
the figures are actions taken

Wayward in Limbo

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

- from the Wayward Music Series website at https://www.waywardmusic.org/.

May 1, 2021

Sue Ann Harkey

12 strings
40 years
50 dollars

tuning strings and amplification to each other
or along with
each co-tuning explores potential fields
ringing traces linger
 the co-tuning is a strong stem
firm roots
we don our skates
oops fell over
a doubled wire
imitates the atomic nature of pitch
exposes its episodic moment 
that is
any pitch moment is an episode
metaphorically atomic
a pitch that is
itself
a dissonant relation
without effort

May 2, 2021

Jim Knodle and Kirill Polyanski

bounces on its haunches
while the music comes around
then gets right on
(a couple of pitch freaks)
(still a few of us around) 

a series of distinct conversations carried to completion
their own distinct completions
stay on topic

Recorded

May 1, 2021

Sonatina in D Major, Op. 36 #6 - Muzio Clementi - Howard Shelley

how to tell a story

Sonata in D minor, Op. 31 #2 "Sturm-Sonate" - Ludwig van Beethoven - Wilhelm Kempff

1
Kempff to my ears
is struggling to make the blatant subtle
just a bit too careful
too modulated
but it is clear
2
and it serves well in this movement
where the orchestration is so delicate
3
also at a careful tempo
which allows differentiation of touch
to be heard clearly
but that also gives us time
to not get lost
in the metrical hijinks
we keep our bearings
not quite violent

Die Winterreise, (1-12) - Franz Schubert - Dietrich Fischer-Dieskau, Gerald Moore

this time through I am reading along in the score
confined keys
resist
melody and accompaniment
conceived together
neither would be nearly what they are
without the care
with which support and comment is provided

May 2, 2021

Etude in C-sharp minor, Op. 10 #4 - Frédéric Chopin - Cecile Licad

music is no longer for polite company
the radicals are loose

Parsifal, Act II - Richard Wagner - Berlin Philharmonic Orchestra, Herbert von Karajan, Jose Van Dam, Victor von Halem, Kurt Moll, Peter Hofmann, Siegmund Nimsgern, Dunia Veizovic, Claes H. Ahnsjah, Kurt Tydl, Marjon Lambriks, Anne Gjevang, Helner Hopfner, Georg Tichy, Barbara Hendricks Janet Perry Doris Soffel Inga Nielsen

enchantments and curses and other mind games
yet another stupid knight climbing mountains to find an enchanted maiden
their big set number is lovely

as Kundry's argument becomes more expansive
the meter changes
from 6/8 to 9/8
reverts to 6/8
to 4/4
for Parsifal's regret
(K is in 3)
then reaches out to him
for first kiss day
in 4
Am4tas 

(I guess the kiss worked)

Slavonic Dance in B-flat Major, Op. 72 #6 - Antonín Dvořák - The Cleveland Orchestra, Christoph von Dohnányi

lighthearted in a way that Brahms, e.g., could never manage
pleasant evenings at the bandstand in the square
everybody wears their fancy bonnets

Track 2, Selections from The Nutcracker- Piotr Ilyich Tchakovsky - Philadelphia Orchestra, Eugene Ormandy

what was ever like this
before this?
what were those early 19th Century Parisian ballets
(from which this derives aspirationally)
like
as events
to be at?

Sonata in G-sharp minor, Op. 19 - Alexander Scriabin

pulls in the magic
before he manages to inform us
of what key he was ostensibly in
that is some pretty crazy keyboard figuration thing
he's got going there

Pelleas et Melisande, Act V - Claude Debussy - Orchestre symphonique de Montreal, Charles Dutoit, Colette Alliot-Lugaz, Didier Henry, Gilles Cachemaille, Pierre Thau, Claudine Carlson, Francoise Golfier, Phillip Ens, Choeurs de l'OSM, Iwan Edward, Denise Masse

this starts as though it will end well
will it
doubt it 

surely healing
oh ache
H as a pitch or key
(in H or h) 

Ahc Ach cah h a c cha cah

parenthesize freely
retreats into itself
the ache of grief
anticipated 

Balzac invented this sort of
only the French would understand
anguish
center of civilization
and all that claptrap
this music seeks that POV
exactly
of their spiritual joining

it is important as a fact
that no words were left out
the music is entirely subservient to the text
the music plays Kundry
to text's Amfortas 

as she approaches death
he listens
more carefully
he would like
to speak
to the little sister
death
himself 

Debussy and Berlioz may have been the only Frenchmen who, having read Balzac, lived up to his ideal.

Symphony in E minor (#2) - Sergei Rachmaninoff - Saint Louis Symphony Orchestra, Leonard Slatkin

1

I WILL B ImPORT Ant C?
royalty has forebodings
I must admit the big tune
as to how it goes by
without ever actually being
is somehow earned
or feels so
2nd theme group could be read
as a variation on a tune
that has been hinted at
I remember the dances
she was so lovely
the little violin on one shoulder
and clarinet on the other shoulder
hmhmhm
how Hegelian
it's in the oven now
cooking
everything is proceeding according to my plan
heh heh ehe ehe
and so triUMPHally is Brought Forth
:::
TUNEBIRD!
is that it?
it's a
(((egg)))
 well that was a bust
||
((send 'em out whistlin'
but by all necessary means
send them out))
||
2
let's try something completely different
let's have an Instragram Worthy Adventure
extreme sport
extremely sporty
ok that's fun
but what about
o that's it
ah
TUNEBIRD!!
[at his best Rachy rendered Hollywood unnecessary
(but the hats! oh, the hats!) kee kee]
how yearningly I wish to miss thee
did I just say that out loud
TUNEBIRD
(is LAST GAMBIT of KEY
is Key's Last Gambit)
3
[A VISION]
for clarinet and rapture
tunebird as a totally hot wench
high class of course
but hot
dance of the ten villion bails
get comfy
it will take time
we have the beginning of tune
I'll play it again
so as it will be rememberfied proper
several times
what I tell you more than three times
is more true
I thought this was over long ago
unless 4 has already started?
4
NOPE
public party time
tunebird's gettin' married!
the learned tune
working on its part
so that it can be put together
for the payoff
(tunebird from heaven)
best get back to work
shake it off
the tempi converge
such fun
a parade
(don't forget TUNEBIRD!)
Here we are!
TUNEBIRD so swan-like
is this a ripoff?
send 'em out forgetting

May 4, 2021

4 Preludes - Erik Satie - Frank Glazer

extreme registral separation
both vertical and structural*
(*sequence patterning)
discrete parts
treated discretely
oh so discretely 
has the urgency of sincere prayer
closest France ever got to Mussorgsky

Concerto in D Major (31) - Sergei Prokofiev - Czech Philharmonic Orchestra, Jan Krenz, Shizuka Ishikawa

the key here
something fondly remembered
irrecoverable as a whole
it used to live here
1917 interesting times in Russia
conflicted ironic nostalgia

Little Waltz - Ruth Crawford Seeger - Jenny Lin

an attractive throwback
or more of its time
than one expects
of a later RCS
franco-russo-philicism

Symphony in B Major "To October" (#2) - Dmitri Shostakovich - London Philharmonic Orchestra, John Alldis Choir, Bernard Haitink

opens in a mood oddly reminiscent of Central Park In the Dark
but actually articulate
music such as Shostakovich or Prokofiev promulgated
and the internationalist world in which that music swam
even then
was something of a security leak
problem
one couldn't imagine the state
caring so much about it
if the world wasn't also aware of it
propaganda control
composing in Soviet-face
the culture of the bourgeoisie
was quasi-interpermeable
across boundaries
had to keep it going
to save face
mid-goal arrived at
by arriving at it
rather than
by getting there
but then it goes on
and undercuts
or what
celebrate and call it a victory

Preacher Blues - Henry Brown [from Allen Lowe's Turn Me Loose White Man]

what rock solid sounds
innocent of metronomes
of any time sense
that isn't internal to itself

May 6, 2021

Sonata for 2 Pianos and Percussion - Béla Bartók - Alfons Kontarksy, Aloys Kontarsky, Christoph Caskel, Heinz Konig

borders on heavyhanded
how it explains itself
what is related to what
and how
popular modernity
it shouts
its up to the minute cred
Fibonacci I guess
but who's counting
(and what?)?
balanced gestures are operative
[NB - my own A Cat's Life has a similar outlook, actually, come to think of it]
modern music as theater
clever by the full measure

Not Mine - Peggy Lee [from The Complete Recordings 1941-1947]

lovelorn dinner club tune
for those overseas
and those left stateside
something to look forward to

In Session at the Tintinabulary

May 3, 2021

Banned Telepath 75 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer

May 4, 2021

Banned Telepath 75 Toad Hall "May the Fourth be with you" - Aaron Keyt

Banned Rehearsal 1025 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt Neal Kosály-Meyer

Keith Eisenbrey · Banned Rehearsal 1025 210503 - 04

The weather did not cooperate for us to play on the porch, so we were back in the studio, to which Anna and Neal phoned from Outpost Lake City, and to which Aaron sent sounds from Outpost Toad Hall

Postscripts

::Consult the Oracle

-rections a poisonous black cloud boiling

with bolts of power and gouts and shrieks of

agony and blacker until over

Reality Check::

iris ask'd

solstice into

open olive lakes