Preface
"What a word means is probabilistic contingent on the historical fortuity of its entry point into the language-world experience, equi-valently noded infinitely universalizing hairy tangled network of its everaccumulating meaning-range in everunrolling speakwordtime."
- Benjamin Boretz "two notebook entries 1981" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"
Texts
Streamed
May 30, 2020
Cait and Locke Live
Interesting item to note: a tendency to play to (presumably) one's image on the screen rather than to the (very tiny) camera. This skews eye contact in a way that makes the audience out in streamed-to land seem to themselves invisible or absent. I'm not sure the MTV always-stare-unblinking-right-into-the-camera solution is any better - it is certainly more heavy handed - just slightly less disconcerting.
Caitlin's 6 year-old nibling, making their on-line premiere, had no such problem. They looked right at us. I suggested in the remarks that they ought to grab a tambourine - which they did - and stole the show. But hey, shows are meant to be stolen.
Thanks guys!!
Wayward in Limbo
- from the Wayward Music Series website at https://www.waywardmusic.org/
May 30, 2020
Dale Lloyd
liquid dripping into liquid in a long tube space
a still texture
pitched bells approach each tone
repeating at a constant interval
stimulating the accumulation of sense
the assertion of presence
the liquid dripping into liquid
does not assert
so we don't invent a person behind it
only ourselves in front of it
then we are aloft but apart
winged
shoulders adjusting to passing currents to stay aloft
the bells return
each in tri-iterant presentation
hide us as we sough over wavelets on the hard shore
where bells blend
and undulate
May 31, 2020
Kate Olson "KO Solo"
prompts from Brian Eno's and Peter Schmidt's "Oblique Strategies"
sanctuary copse for peace mind
remain long enough
for play mind to emerge
2 "Short Circuit"
patchwork patch work
variously layered transparencies accumulating in a sequence
amply paced so that each new patch layer is explored before moving on to the layering on of the next
where it is going and where it gets to
is not part of this
any more than it would be of a quilt
3 "Look at the Order in Which You Do Things"
the classically oriented composer in me brings a complaint:
essentially, they are so much the same as each other, they don't consider how they make themselves from within themselves.
but that is likely the wrong stance from which to consider these.
admirably, they are not masterwork art pieces
they are constructed spaces for enclosing us
shaped with care
and some playfulness
to be friendly and comforting
healing perhaps
June 4, 2020
noisepoetnobody (Casey Chittenden Jones)
waters flowing distant explosives somewhere a hum soughing comes and goes gentle rasp bilabial unvoiced
when did the brook burble go electric?
boot squeaks in magnetospheric snow fall
the hum constant
slowly cauterizes even electric footfall
a room has been entered
Recorded
May 30, 2020
Bronx Zoo Hobo - Curtains For You [from After Nights Without Sleep]
bounces and floats along
like a hum for walking
that sort of hum
Track 8 - High Class Wreckage [Live at The Funhouse July 2011]
digs in
Track 8 - Pouch [Live at The Funhouse July 2011]
chugs with discipline
3 moments the same
one moment lifted
falls back on the same
chug chug chug chug power suit
Sigourney Weaver - White Orange [from White Orange]
getting a load of that swimmy flange
it must have been a real thing back in the elevens
and might one wonder if it is intended or understood to be intended to invoke some particular drug effect - like the instantly recognizable LSD trip film montages, that old Easy Rider trope.
Peaceful Man - Yuni in Taxco [from Slow Charade]
I'm real calm
on a level of chill
My Brain Came From a Factory (B Side) - Koko and the Sweetmeats [from Sacrifice]
along with the rest of my anatomy
life in the Brave New World
going to the desert once again
to be malleable
I learn
is to be hammerable
shapeable without breaking
Winds of the Sun (underlying electronic track) - S. Eric Scribner [from The Storm Sound Cycle]
throbbing below humming below thorax
extremely careful shift of weight
from part of tone to part of tone
the sound is a body and the sound body has massive plates in plastic balance
Long Lonesome Road - Smokestack and The Foothill Fury [from America's Freedom Death March]
blues voice:
a. proportion of and differentiation between the nodes of voice
b. where it rings at each register
c. high mid low
May 31, 2020
At The Start - Shelby Earl [from Burn The Boats]
song parts (verse chorus bridge) have a typical size to them
even though the specific terminology of a culture might differ
and though the patterning of those parts may be other than ours
then a mix of loop mash to finish
You're True - Eddie Vedder [from Ukulele Songs]
the ukulele is pressed into heroic service
to support such a wide ranging song and large voice
it doesn't inflate the song
it only just holds it up
revealing the song's weight
High Water - Star Anna and The Laughing Dogs [from Alone In This Together]
not
a memory of a regret
but
regretting a memory
Flat Bars - Paul Rubenstein [from Solo Trios]
a yarn
strands wound around each other
each strand is homogeneous to itself
and congruent with the others
No One But You - Goat Rodeo [from The Goat Rodeo Sessions]
with a vocal and harmony
played in that this is a Serious Movie tempo
no laughs here
the mood of serious Hallmark adulting
WYPL / Shut Up - Full Toilet [from Full Toilet 7"]
more song parts
whose size
is calipered for effect
the cleverly humorous lyrics don't detract much from the clarity of how it goes
Georgia Guilt - Courtney Marie Andrews [from No One's Slate Is Clean]
the self aware heartbreaker
thrives on heartbreak
(rough life)
Friends - Yuni in Taxco [from Sanpaku]
the purpose of the feedback opening is like that of a calling card's typescript
this song uses its sound technology
considerately with the tempo of its argument as a song
Past Lives - Whitney Ballen [from White Feathers, White Linens]
in the roar of traffic
a little pick-up line
The Day I Stole Your Car - Curtains For You [from After Nights Without Sleep]
collaborations find a weight of sound and tensile bounce
earthbound bounce
Magnetic Fields (underlying electronic track) - S. Eric Scribner [from The Storm Sound Cycle]
limits and curves come back around
June 2, 2020
Track 9 - High Class Wreckage [Live at The Funhouse July 2011]
ready to fall apart any moment because it pretty much is falling apart
a string must have broken
Track 9 - Pouch [Live at The Funhouse July 2011]
whereas
these guys
have it together
All Seems Fair - Yuni in Taxco [from Slow Charade]
relies on special effects when it shouldn't need to
its clothes don't fit
Outer Space, Beyond the Sun (B Side) - Koko and the Sweetmeats [from Sacrifice]
same problem
maybe a bit smarter as a song
but essentially as monochromatic as an effects film
Against the Wall - Smokestack and The Foothill Fury [from America's Freedom Death March]
yes
banjo sticks and voice
nothing in the way
doesn't hide
what they are doing in the world
Burn the Boats (Part 1) - Shelby Earl [from Burn The Boats]
epilogue
Nightmare Town - The Downstrokes
horror film as novelty punk song
innocuously unpretentious
Open Your Eyes - Curtains For You [from After Nights Without Sleep]
musicianly arrangement
lots going on but always clear
Malacandra (underlying electronic track) - S. Eric Scribner [from The Storm Sound Cycle]
undulating drones
protective layers
to the (from the)
molten core of gooey stone bubbling further in
slower than consciousness can keep up with
nor grasp
ascending from the deep
must be done slowly
descending from the surface even more so
inverting descent
to the crystal gates
June 4, 2020
Light Today - Eddie Vedder [from Ukulele Songs]
tetrachordal stepwise from top to bottom
Alone In This Together (Radio Edition) - Star Anna and The Laughing Dogs [from Alone In This Together]
a slow tumbling tune
9xxoxxoxx - Paul Rubenstein [from Solo Trios]
thin violin
stumbling figures
polyproportional overlaps
ends in a moment
unlikely
together
13:8 - Goat Rodeo [from The Goat Rodeo Sessions]
how fast
why
aptitude as an end
Hotel Five-Star - Full Toilet [from Full Toilet 7"]
no welcome to overstay
Dear Sister - Courtney Marie Andrews [from No One's Slate Is Clean]
can't leave dysfunctionality
the warm sound of guitars keep hold
plead
The End - Whitney Ballen [from White Feathers, White Linens]
music boxes and winding them up
In the Last of Your Light - Curtains For You [from After Nights Without Sleep]
lots of music box and kalimba tonight
tune and harmony lounge over the keyboard figures
(I'm not convinced by the bridge)
why this isn't a hemiola: a hemiola goes into 2 (or 3) from 3 (or 2)
this never leaves 3
Soundform II (underlying electronic track) - S. Eric Scribner [from The Storm Sound Cycle]
the phantoms are thick here
limbs crack
under them
to ease their weight
kindling sparks
abiding by winter
an omen
In Session at the Tintinabulary and Outposts
June 1, 2020
Bannedecameron 200601 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer
socially distant BR bit 6-01-20 - Steve Kennedy
Steve sent some sound from South Outpost.
June 2, 2020
STE-025 200602 - Aaron Keyt
Aaron howls in protest from Toad Hall Outpost.
I'll be putting these all together soon, to be posted by next week.
Postscripts
her out to be guy in jail with me made
me think of the warnings turning cash
area gilded lets caleb off in
stinging distinct chord
crushing with my shoe
a such beetle like thing
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