Waves at harbour front face in the sand.

Monkeys of God.
My love's written in blood and fire unto its own ends in the winter's bargain this solstace of the heart. Breath follows favoring the wind within the great bellows. My coat betrays innocence the transport is lovey dovey. On my back are the monkeys of God. They know the rhythms of existence. The corn is devoured through a picket fence. One yard sees the mill pond lilies of time. One yard sees a stranger crawling across tomorrow. A fairy goddess paints my face in vermillion ripples. I feel the light in my eyes   turn from indigo conflict to grey  armistice and my heart knocks against the doors of night. The rig is jig: sawed tapping and dancing   through these portals to the sunrise. I beat the sliver tabla it rings in my ear and in my conscience. My consciousness respires in stellar atmospheres I hold to the challenge of progress. It coughs up a painful methodology for the light breaks over rocks of continuance. Are babies barbed and blurred with shiny auras? Does a drywalled castle stand up to a rugged winter? I pace my room conversing with ancient voices. They tell me the importance of using time. The clock is a mean government and the ruler throws a tax on my pain. Exacting in change from the breaking waves reality pounds on my beach. There's ripples in the sand of my hair and in my mind's temples. Are you adjusted dimensionally? The machine adds to intoxication and birdies sing in natural chorus. Those throaty armies of earth's angelics. I'm in a case of rude purpose my cloudy state clears and drifts into the swirling lights of day. Are the bellies hard? Do the lights girdle the fallacies of a false equinox? Am I thinner than air by this invincible brilliance? The machine issues tin tickets. My run is a bear in the woods shitting dolls of flux and undead flowers. Life owns its hoop of passage and if the shaft equates within the portion of a real estate of a wounded purpose; the sum and sun is up over this inward fifedom and my eyes light up in the face of love.

Monkeys of God..m4a

From "Ritual" (Pathway001). Available on vinyl LP and digital download.

Aggregate

Taken from "Ritual" (Pathway001). Available on vinyl LP and digital download.

Carving

sound sources: yamaha pss a 50, vintage lemon drop, voice, field recording
sound modifiers: ehx attack decay (with a keeley parallax in the send-return loop --- and - recording voice only - with a roland vt4 at the incoming end of the same setup), zoom r20, samplitude
narration: lamenting all the poetry lost to love-interest-related activity and non-activity, this might be called a love poem itself ;-) 
image: copyright jo richter

poem / copyright jo richter:

this poem
under the mountains
under the sea
this poem
under your body
and under me

this poem unwritten

this poem, unwritten

Catacombs

method: a reface dx was mostly instrumental in creating this, apart from: voice, VT-04, Y8, fx 600, r20 hardware and samplitude software
narration: as unconsciously as uncautiously delving into ruptures in rational reality
image: copyright jo richter

poem / copyright jo richter:

schwarzschild linings
fashioned to measure
the lake is too deep
to reveal ancient treasure

quick fixes good
for a lifetime and more
soiled gold and soot
alchemical ore

these are the vigils
held for immortals
widows and virgins
clawed into morals

morbus kant

Title track from Leafcutter John's new album, Resurrection(Pathway009)

A panoramic sound world of drifting vocals over a densely-processed terrain of mud-caked percussion and guitar, Leafcutter John’s new solo album, Resurrection, is a characteristically unique blend of the electronic and the acoustic, the hi-tech, the human and the homemade.
Resurrection is the sixth Leafcutter John album and his first solo release since 2006’s The Forest and The Sea CD/LP(Staubgold). In the intervening nine years, John has toured from Vietnam to Venice, appeared live with Beck Hansen and Imogen Heap, and provided the score for Crow, a major theatre project by Handspring (creators of War Horse). 

During this time, John has also maintained his permanent role as the unpredictable, electronic antagonist in Polar Bear, the twice Mercury Music Prize-nominated, genre-defying jazz band.
This new record marks fifteen years of releases by Leafcutter John. Born John Burton in Wakefield (Yorkshire, England), his highly original musical voice was first spotted by Mike Paradinas, label boss of Planet Mu Records. Over the course of his first three albums (2000-2003), John established and developed his idiosyncratic London-based studio, and his skills as an inventor of unusual instruments and extraordinary music software.
Resurrection begins with the sound of a single bell, in homage to one of John’s major influences, Bernard Parmigiani’s De Natura Sonorum (1976). From there, the album unfolds over five cinematically varied tracks, “like floating above a world in constant flux,” in John’s own words. In fact, aerial photographs of the Japanese tsunami of 2011 were a direct inspiration for the record.
“I would create complete, fully-formed compositions,” says John, “then later, I’d come back to them, playing the part of
the destroyer, scraping and smearing away elements, weathering, piling up and re-ordering them, as if they’d been hit by a natural disaster.”
Not content with the usual tools available to the electronic musician, John has created innovative new systems and techniques for both live performance and production. This includes a light-controlled instrument that allows him manipulate his live sound through gesture, flickering candles, flashing torches and pyrotechnics. For the track “Gulps,” John coded special software to layer huge swathes of sound. Using a recursive system, he created 7.1 billion layers of a recording of the North Sea, one for each human alive on the planet at the time of writing.
Featuring a guest appearance by Shabaka Hutchings (Sons of Kemet), “Gulps” is a poignant demonstration of John’s
approach: Hutchings’ intimate clarinet is gradually engulfed by a (literal) ocean of sound. This is sculptural sound design
where technological innovation is always at the service of the emotional impact of the music: deeply human at its root, and
mind-expanding in its ambition.

Desire Path Recordings
www.desirepathrecordings.com | leafcutterjohn.com

Credits
Written and produced by Leafcutter John, with Varpu
Kronholm playing additional percussion on “I Know You
Can” and Shabaka Hutchings playing Clarinet on “Gulps.”
“Endless Wave” contains elements of “Forest Of Spades” by
Strings Of Consciousness, used with permission.
Mastered by James Plotkin
Photography by Max Baillie
Design by Chris Koelle, Leafcutter John, and Varpu Kronholm

Distributed by Revolver

Leafcutter John - Resurrection

Unbearable Parables Part 7

https://hidingpress.com/files/ernest-m-robson-shadows-of-the-voice-accompanying-cassette

Monkeys of God..m4a

oxtraces poetry.

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