a blurred postcard, a dream you don't remember having, sitting subconsciously within, sounding like the playing is from hundreds of years ago, invigorated and historical inside the instrument, now clashing with and making new, the electronical sound-wave inclusion, as though a victrola player is having all of the surface noise turn to lightning to make magic the koto unearthed from cave-painting accuracy, to tumble along with bamboo-rounded key strikes, to make certain the many lives, the many constructions of time-wrapping introspection finds a home, if momentarily, in the upper air.
experiments in tape and depth and layer add ornament to the journeying full-bodied pieces solidly confident in prayer and blues and exposition.
clusters left to sit high and be tops of mountains in the picturesque influence stay afloat and become silent, as more gregarious pitter-pattering and plucked patterns emerge to draw the emotion outward and to the sides of the now moving mists.
all of the detail is in the ellipsis, and what's not played, or more accurately taken away as ghosts with the existing notes, acts as travel, the identifiable parts carry extra feeling, made thicker with turning reel contraptive cadence, and hiss and space and background complexion rotate alongside vistas and ranges of emerging imagination.
this blending of time and place, by the reaching figures of interlaced years-ago-like koto with the sonic flashing and new-school adorning distortion-signal/frequency-