The legs of words grow out of mud mouths

as it seems, even abundance-sufficing throng eats away hour after hour in its root, face.

"Oh, heavens!" you bear witness to the process by which being is assimilated  into enduring custom,

that manner in which that uncontrollable tool takes on its newness without fail 

so that its timelessness pervades the soul's vault;

in its incontinent insanity, that sudden and gripping start of many - a language - in its sharp lip-smacking--thus quite pointless and enormous 

with its almost infinite thrust, forcefully  coming of age, reason and chaos collapse side by side 

with a torrent of nonsense tongue twisters. 

Acting unabashedly, lacking no self-doubt, and so "where" and "why" take a back seat in the absence of nuance lost in timeless hymn-singing: 

Exactly to that tummy's plane is it timely; thus the acme of universality is but an economic process 

just as the last of that sets in these habits, that unless that branch of earth becomes one with the trunk and, or it doesn't matter in the least.

I'm not counting on it; unused single wood on fresh sap, and so consequently is my seed not without value: 

"Even as a not-so-distant prospect, there it is sitting steadfast in its tent, for surely it must carry one's knowing gaze for some distance, 

its standing* and crouching legs, rooted in its home soil.Fortunes seem to linger--do they decay? (Oh, pshaw!)"

*these quite haphazardly inserted moves bear some sort of resemblance to the way one might approach someone in an unchaperoned house (see you back at our house) and politely greet/bother them :)

It is a rather boiling development, one of the few in this world that manages to take you by your honesty and its quivering raw fleshtude, that gets you on its stage astounded, so dejectedly alone standing making your heart overboil once more in its wake.

¨˙\v∆\\V/⁄Æ⁄\.`

keep yourself

Elektron Model Samples on the beatwork (plus additional tr707 perc from Ableton)
Dave Smith Prophet Rev2 on the stabby chords
MAM MB33 on the acid
Korg Minilogue on the spaced out additional chords.

Photo thanks to my father, Peter Grafton.

Simple Pleasures

Platin Brick

Spiky Skill Set 

I feel like a satellite
In orbit about your person 
I analyse day and night 
Rationalise and I reason 
Need down time to reset
Refresh my brain
Learn your pattern
Light is bright polarised 
Can’t feel my own insides 

I see your eyeball of dismay 
When I can’t do it your way 
I watch your eyeball of dismay 
Before I find I’ve turned away 

Spiky skill set
Spiky skill set
Spiky skill set
Spiky skill set

I find my way with focus 
See things that you won’t notice 
I’m on the ball until I’m not 
Forgot what’s what 
When you put me on the spot 
I’m pretty far from hopeless 
Your mistake if you think I’m useless 
I see your confusion 
Won’t work for me your solution 

Spiky skill set
Spiky skill set
Spiky skill set
Spiky skill set

I see your eyeball of dismay 
When I can’t do it your way 
I watch your eyeball of dismay 
Before I find I’ve turned away 

Spiky skill set
Spiky skill set
Spiky skill set
Spiky skill set
Spiky skill set

I’m pretty far from hopeless 
Your mistake if you think I’m useless 
I see your confusion 
Don’t work for me your solution 

Spiky skill set
Spiky skill set

Spiky Skill Set

Free DL

The Wind in the Trees echo as they cease
Speaking of Life, they dance as they please
Leading onto Death; that eternity's flower-maze
The Gift of Winter, yes, is Summer's gaze
And release

Download

The Pale Claw

I miss the rave

HDWAV 5.1 - SW33TT 3V1L DRR11LLL 0FF1C14L R3M1X 1NTR0 - Duality (1 T0LD U S00)

Written by Terry Reeves, 1981
Recorded in a dusty attic, Wallington, Surrey, 1983
Terry Reeves: Vocals/ Guitar 
Brian Reeves: Guitar
John Palmer: Bass
Gary Reeves: Drums

Back in 1981, there was a major news item on the front of the tabloids involving two young teenagers who had committed suicide in a car. They left a note saying that there was no point in carrying on living as they had no job and no money. Unemployment was the highest it had ever been at that time, so it made the headlines. This song was my comment. There was nothing great about the Thatcher government and yes, I was there. (Terry Reeves)

LYRICS

Work hard at school and you will succeed
Get the pieces of paper that you need
You will get there if you are the best
But what happens to us, all the rest

CHORUS
NO JOB, NO MONEY, NO LIFE, NO POINT
NO JOB, NO MONEY, NO LIFE, NO POINT

Discipline will curb your greed
Much more training's what you need
It's better now than it's ever been
Hard times like these we have never seen

CHORUS X 2

Lets tell the truth and not live a lie
No piece for us of that money pie
The youth are the future that's what we're told
But what will they tell us when we're too old

CHORUS X 2

So what's the point in carrying on
Growing up is just one big con
Haven't listened to a word that's said
Perhaps you'll listen when I'm dead

NO JOB, NO MONEY, NO LIFE, NO POINT
NO JOB, NO MONEY, NO LIFE, NO POINT

Final Choice - Root Division (1983)

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF INCONVENIENCE – EXTREMELY SOFT SOUNDS & ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« minor differences » for virtual, physically-modelled, 10 metres long, microtonal piano(s) & electroacoustic sound layer (2019)

/dedicated to Olga Miriam Michałowska/


***
This piece is a study of displacement. It is an examination and investigation into degrees of "MINORITY" of a chord. It is a form of simultaneously permutated, entangled note chains (organised using a specified quantisation also undergoing its own alterations in time), an excerpt from an “endless” modulation occurring within a MINOR “hemisphere” of a soundspace determined by transition between 24-, 15-, 19- & 21-EDOs as well as my own, non-octave scale.

In « minor differences », almost everything was derived from the ratio of 13/11 – an interval of tridecimal minor third, measuring 289 ¢. The scale incorporated in the majority of the piece had been developed on the basis of the mentioned ratio of 13/11 as well. It has “too small” or "too wide" thirds, no pure fifths at all and octaves being almost pure, yet not exactly so (deviations vary between -21 ¢ and +10 ¢). This carefully calculated exertion provides slight beatings, mildly rough interference patterns and therefore gives an overall impression of an expanded space – as seen in dual intra-cavity of a two layer mirror. At the same time, those “compressed” thirds in the scale are responsible for an “endless collapse” impression of presented chord progression. The listener can realise that the harmonic charges are being resolved and transferred in several directions simultaneously, thus giving those once castellated, quantised patterns a touch of organically geometric refinement. In due course, mentioned quantisations also become intervalised; by this I mean different scale variants being entangled, superimposed and shifted, all in a specific order. As they start to modulate into one another, they contribute to building a meta-scale of presented musical material. Almost like an error that somehow happens to designate an additional dimension. Not far from a flaw; a small, unjustifiable irrationality that surprisingly reveals its carefully calculated and attentively designed essence. A factor that shifts piece's global “displacement paradigm” to another level. 

Thanks to the virtual modelling software capabilities it was possible to design and administer several “impossible” multiphonics (for ex. those with the structure of 13 and 11 partials mainly, without the even ones present at all), as well as map them further on the steps of my minor-third-oriented, non-octave scale. 10-metre-long strings applied in the virtual piano(s) used in the piece reduce the inharmonicity significantly, thus rendering the micro-intervals much clearer to one’s ear and their minor differences much more important.

Platin Brick

HIGHDIKLUMP