IMPROVISATION
Meandering thoughts pulsate through the dark filter of my scattered brain as I hit "record" on a microcassette recorder intended to collect professional dissertations at the push of a button and a loosening of the throat. Three instruments fill a room formerly inhabited by a bed that occupied the entire floorspace. Two grown people with furniture too large for their 2 bedroom 1920 cottage, unwilling to relent in their self motivated task of filling every millimeter of this house with markers of vacations and better times. They look in from the past, a recent history of giving up on America and fleeing the current education dump. No looking back. The guitar, bought in the northernmost corner of the continental US, buzzes with excitement. Borrowed drums and a cassette player purchased from a dead man's estate sale filled with a tape that hit me in the neck a few years ago.
Transitions Art Gallery, 2007ish:
A whirlwind of sound mixing voices, rewinding, noise and hiss fills the air at the punk art space. Tapes chucked into the audience by experimental auteurs Hal McGee and Andrew Chadwick. A high velocity cassette collides with my neck and I choke on my own laughter and short breath. "Ironing Folk," says the tape.
Present Day:
Mind blank with anticipation, I turn the ceiling fan on for some extra background noise. We set a timer to give the improv one of two concrete reality cornerstones: Time must have a stop. 3 movements. Go.
Download the track Violent Space Beat here:
http://www.box.net/shared/tpsks61ak6
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