d i think that’s it (but i might be missing one or two). sampled texts are readings of Joseph Conrad, Bela Tarr, Slavoj Zizek, and the Reverend Joshua Duncan Sloane.

the acoustic recordings were gathered as gestural nonsense, the closest thing to an anchor we had was the piano phrase (c# add11 - C6 #11 - E69 #11, the same exact phrase is also in Rhodora Idyll toward the end. I recycled). Alto Saxophone Greg’s Dad started with melodic ad libs on this phrase, but the sense decayed through the course of the session and we traveled from air to teeth to guttural overtones. I sketched the sounds’ shapes and colors towards the dramatic flow of the libretto in a blueprint after the tradition of graphic notation, and then Greg proceeded to arrange and develop all this in Ableton, during which time I was shouting in his face and bothering his life. the guitar part was played by an ‘85 ibanez with a dimebag seymour, ‘83 rivera-built fender with the reverb all the way up, knives, a handful of coins, and a chair. 

many of the aesthetic choices and a lot of producerly advice are a direct result of Greg’s workflow, he definitely has a big chunk of authorship here even though most of his stuff is from a different land dig it here soundcloud.com/greg-driza .

i suppose since i described the background of the musical landscape i should have a paragraph about the conceptuals and the thematics and the pretentions and the whathaveyous. but if you want to hear me talk about chairs, shouts, un-sense, theatrics, drama, franciscan mythology, and circles that’s too bad.