No Earthly Business in a Maine Hayfield

Collaboration between Mono-Orbit and the poet Jo Richter @sonic-textures
Lyrics copyright - Jo Richter
following the nutritional trail
a trilobite moves from a place
like that to a place like this
agile senses in a chitin shell
alarm in a world made of hunger
muscles react : volvation
when is it safe to stretch out again?
how long do you remain in stasis?
what is duration in trilobite terms?
you need to show strength, to feed,
to moult, to live your trilobite
lifestyle in cambrian waters
when does that urge undo precaution?
a theory of mind for trilobites
does not exist : we are not aware
of their mental cues, their inner states -
do they deliberate or just change shape
as some behavioural timer runs down?
in ancient seas, in its own time
a trilobite moves from a state
like that to a state like this

Trilobite Quandary

The - Nothing - Drones - Music - And - Film 38 - Rec041

Take On Me

Alone - Selah Sue
Daydreaming - Don Gorda Project
Across 110 st. - Shelly Sony
Only people - Cantoma
Go - Unclubbed 2 / Zoe Durrant
Wichita Lineman - Ituana
Out of town - Cantoma

Super 8 Refix

Solo Piano - Chris Bright

a change in plans 1014 - 10:14:22, 6.36 PM

Tears In The Rain

Out of the Box December 2022
Does anyone want to be My Baby?

Oh Baby

good intentions 9.25.25

Piano M 7997 3:45 03-10-2025

This piece is an excerpt from an album of Piano Duets called ‘XXVI 88’ which showcases 19 different instruments from PIanobook.                   
This one was recorded using BluthnerStyle6#90513 by Richard Vossgatter.                                                        
The compositions themselves are duets arrangements of a forthcoming album project - ‘XXVI’ which I have finally managed to finish. 
The full album of Piano Duets will be available to stream hopefully before the end of the year.

Clearance 88SE

I make music because it is where I let go of the have-to’s, and become part of something larger than myself. The language I speak on the keyboard when I improvise expresses a part of me that only comes out there at the moment of creation - when I’m fully connected and in the flow. In those moments when I disappear in the music, those are where I’m most fully alive. The musical question I pose to myself when I play is largely this: how can I release my inhibitions and let go of patterns sufficient to bring something entirely new, unexpected, and enlightening into the world, with structure, precision, clarity, and depth of expression. These pieces are meditations that are of me, but more precisely, they come through me. When I’m in the flow, I’m channeling the energy and only moderately directing it. The challenge is to be open to take risks while maintaining a structure, melody, and tempo that makes it interesting and satisfying enough to keep listening. I keep doing this nightly because it’s a language, because it’s a connection to something greater than myself, and because it’s very very relaxing.

a change in plans 1014 - 10:14:22, 6.36 PM

Chris Bright

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