Soft is the wrong word
Expansive. A world of infinite horizon
extending beyond solitary comfort to
universal peace
No, really.
And clouds seem to brush against your skin
And there’s a sweet smell
but not too sweet and only faint
only small
only safe
Choir. Angels. Or something.
It doesn’t matter that much what
the sound really is. It’s far away and
yet
so very insistent in draining away
your rational thought
Stop thinking. Body can’t heal
while you’re thinking.
Pulling you toward that infinite horizon.
—-
No, really. I’m an insomniac sometimes.
I remember a long time ago, I used to listen to all kinds of music late at night. I’d listen to old Genesis records or Tangerine Dream or anything psychedelic or melancholy. Brian Eno. Jon Hassell. I still listen to these people, by the way. And David Sylvian. And Peter Gabriel’s ‘Birdy’ album, which is really wonderful.
I’d spend all night wearing headphones. I’d go to sleep listening to music that would induce a hypnogogic state. I’d wake up and the headphones would be wrapped around my neck, or on the floor next to the bed. I still have those headphones, by the way, and I’m wearing them right now.
When I moved to Berkeley, I’d drive around at night, and it seemed like every night someone at KPFK would play a couple hours of Joe Frank, which is a perfect driving-nowhere-alone-in-a-city soundtrack. I actually miss that. I miss how someone at some off-beat radio station seems to be psychically connected with me so that as soon as I get in the car, it’s time for them to start the Joe Frank.
I remember one time, when my parents were out of town, I was listening to the radio, and it was Hearts Of Space, which is still on by the way. I lay down on the carpeted floor of the living room and listened to a half-hour piece by a Japanese composer whose name I wish I could remember. And just listening, I started hallucinating. I started seeing tracers. This was just from the music without psychoactive assistance. The music was a series of smoothly percussive sounds, that I could only imagine as glass beads being poured between three containers, across and around the stereo spectrum. There was a more traditional music bed, which was some sustained but very spare synthesizer chords. But the beads were the real show.
I began to imagine what was beneath the floor, what deep history could be felt there. Who was buried there. What stories had transpired. A face, a motion, the flow of water, a hurricane… And now three containers of glass beads. Or at least their sound.
It used to be that when I’d tell my friends about these interesting things I’d heard, they seemed to wonder what was wrong with me. There’s something very lonely about this kind of music, and about this experience of music. It’s not something you can really share. The music comes from people who are in their basements with racks of synthesizers and multitrack tape machines, and somehow it filters through to solitary listeners.