from "The Return of the Lonesome Coyote Patchwork Pulpit, and Sundry Other Tales from the Rainbow's End"

Released 27 November 2010 
Written and produced by Benton Roark

Recorded by Rollaway at the Palais des Gens in East Vancouver 
and by Greg Montforton at Blue Wave 
Mixed by Benton Roark and Adam Tryczynski 
Mastered by Stu McKillop at the Hive in Vancouver 
Album art by Stephen Key

Waiting On A Light To Change

Supernatural Healing

Holly Roadfeldt - Piano

Hommage a Gary Gygax (1938-2008) - Given all of the artistic and scientific people I've covered so far, why write an Hommage to Gary Gygax, the creator of the role-playing game Dungeons & Dragons? When I set out to write this series, I wanted to pay respects to people who inspired me to create. Gary was the first. I was introduced to D&D in the 3rd grade, and I became fascinated with it immediately. I used to sit in class drawing dungeon maps on graph paper instead of listening to my lessons. This was my first real creative outlet, and where I first encountered the mechanics of telling a story. For instance, if I drew a long hallway on the graph paper, and then drew in a secret door halfway down on the left wall, this in itself posed many questions - questions that I had to answer. Why is there a secret door here? What is it hiding? Is it an object of significance relating to the rest of the story? Is it a dangerous monster, sealed away forever? How does that relate to what the adventurers are going through? My 3rd-grade mind was sent wandering with almost endless possibilities. Through Gary's creation, I learned to craft a narrative - a skill that became invaluable in writing music. How could I not write an Hommage to Gary?

Hommage A Gary Gygax (Official Album Version)

Originally aired on City Wall Radio on the 6th of September 2025.

This is Vol. 29 of <2 (two & under). A continuous stream of short musical creations, each under two minutes, miniature masterpieces interwoven and occasionally interpolated, transitioning seamlessly from the briefest to the longest—a perpetual motion of sound.

Interstitial Title Card III by Austin Weber
mixed with <2 Intro Really Melancholy and There Are No Words by Wombo
verse about boredom by Hudson Freeman
(Walmart Super Center) by Theadoore
yellow by pinkoniglio
Pablo’s Pianoi by Clever Austin
Myst by dome 3000
Nobody Else by Andy Jenkins
Sarah Jessica by Felicity J Lord
[as is most Ibimbo it out}] by Disinblud, Rachika Nayar & Nina Keith
Lullaby by UI
Twilight Zone by Ben Salisbury & Geoff Barrow
Preface by Robert Fripp
mixed with Hymn by Dudley Moore Trio
No Star General by WPTR Murmur by Oh No Noh
You Thrill Me by Patty Waters
Carved by the Moon (Acoustic) by Memotone
whatever by big long sun
SORCERY by MENU
Hades by Gabe ‘Nandez
choppy by watch free online
Books in Boxes by Pinc Louds
mixed with
Another Green World by Brian Eno
Not Nice To Be Nice by Sentridoh Earth Loop by Florian T M Zeisig
Quartz by Felbm
Some Tame Gazelle by Norma O’Malley Moonflowers by Clyde Love
Burning Bush by E. R. Visit
Fraternidad by Isasa
I Guess by T.Hardy Morris A New Love by Yung Sham
USA Baby by Elias Rønnenfelt
Run of the Mill (Demo) by George Harrison
Collective Attention by Shane Justice McCord
Experience Humanness by Golomb
Golden Hair by Syd Barrett
The Oxford Girl by Shirley & Dolly Collins
Without Her by Alex Pester Bird Watch by Jogging House
Make It Red by Teethe
wait outside by frans asthma

<2 (two and under): Vol. 29

When the morning comes (voice memo demo)

Reasonable People (voice memo demo)

Beneath the Moon was written by Jon Woode  and performed here by Lara Snowdon for the album Songs of Land and Sea, released in aid of the Cornwall Air Ambulance. The whole album is free to download on Bandcamp (link in bio) and there is a Just Giving page link there too if anyone would like to make a donation

All vocals: Lara Snowdon
Guitar: Jon Woode
Violin: Kat Goldby

Album artwork: original oil painting by Laura Terry

Beneath the Moon ~ Lara Snowdon

With music stylistically described as “floor-stomping blues”, “backwoods-choir elegance” (The Georgia Straight), and “dirty-southern-gothic-rock-country-folk” (Discorder Magazine), Benton Roark and Rollaway have firmly established themselves as a genre-defying voice on the North American indie scene.  For over a decade they have maintained a tireless international performance career and a prolific creative output of written and recorded work, producing no fewer than three records of original material.  The latest of these -  The Return of the Lonesome Coyote Patchwork Pulpit, and Sundry Other Tales from the Rainbow’s End – garnered critical acclaim, inviting comparisons to Fleet Foxes, My Morning Jacket, and Neko Case and bringing the band's sound into a unique blend of ramshackle roots, Southern gothic poetry, and dark romanticism.

This is a palette one might expect given the eclectic history of its bandleader.  Hailing originally from Georgia, his early projects earned him the label of “crafty folk experimentalist” (Creative Loafing), foreshadowing the nuanced sound world that he would later forge during a decade of work across multiple genres, disciplines, and locales.  Equally at home in the avant-garde realm as in indie rock,  Roark’s experimental music has earned descriptions such as “a dream-like state” (Musetta Stone), “emotionally rich” (Toronto NOW), and “a dark and interior vision” (The Georgia Straight).  Traits such as these have no doubt surfaced in the sounds of his rock projects, influencing the “poetry” and “complexity of [Roark’s] lyrics” (Maverick Magazine) as well as the band’s “topnotch” ensemble playing (The Georgia Straight).  Indeed, comprising a cast of virtuoso players equally steeped in jazz, rock, experimental, and folk traditions, Benton Roark and his band have struck a chord with symbolism-laden lyrics, creating a sonic potion that is, as Discorder Magazine puts it, “just too good to deny”.


Waiting On A Light To Change

Benton Roark Band

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