for tape player, for modifications, for voice, for piano, for hollowed out heavenly sample.
drips of clouded hiss, layers of deeper and grainier white noises accumulate, wordless voices match blown-out tonal structure in a minor-rounded looping and descending wall of sound, but not hitting or reflecting back, just swinging and shaking in the open air, like a physical feedback with full-on ragged/caked edges attaching to a warmer film, or being extrapolated from the worn-down and dying tape, but yet breathless, gorgeously living.
a pure gospel stuck on three or four notes of vulnerable song stuck inside crusted magnetic dust gripping and disseminating, repeating the part that holds the most truth.
momentous modern play-around, the simplitude and time-frame that can be found in the length of a cat’s majestic yawn brought out into infinite working graphicality, unconstrained and fully self-supported, risking erasement by altering/faltering gear choice. edited new melody from pause and record situationalism/sensationalism.
drafts of piano touch and transcend fidelity, acting as stand-alone in the recorded field and as a conduit to explore the megaphonic roaring as the tracking hits capacity. there’s a great balance between softened quietude and small speakers distorting into grander big-picture building/overflow.
the recurring structures and run-through continuousness completes the ‘fostex’ work, tapes and times and progressions are cut up and rearranged for an ultimate playback. the last squeeze out of the machine at hand, the personalized machine’s last funereal singing and chorality before that bummer of a gear-death breaks down. the send off then.