Had these changes transpired möbiusoidally, only to be cognized in a moment of distraction from an increasingly taxing exercise? (Attentional fracturing was becoming a baseline condition.) A couple of asounders had engaged timbral filters via pedals (also retrospectively noticed), which acutely alienated the melody from its prescribed orbit. (Pitch was a mysterious percept indeed, contingent on multi-parametric collusion.) Dropouts were also contributing towards melodic estrangement: at times the full complement of eleven dwindled to two or three, risking complete dissipation. Yet the houngan had sanctioned this potentiality—“in and out as appropriate”—and appeared untrammelled by the proliferating challenges to the melody’s integrity.

Perhaps it was a certain will-to-differ that each asounder expressed in their habitual musical peregrinations—a natural propensity to pervert whatever encoding system reigned at the time, to leverage its exoteric and esoteric fixations—which made them desirable vectors at present.

X had fueled collective imagination on leaking some of its chronoportational exploits to reddit (the posts almost instantly deleted). The most outrageous of them involved the retrodepositing of a ¼” tape reel containing The Ides of March—a collaboration between John Cale and Terry Riley which surfaced on their 1971 album Church of Anthrax—in the studio rented by Sue Records where Inez & Charlie Foxx’s Mockingbird was about to be recorded…8 years earlier. X had learnt from phonomagus Danel B. Scroll how to “put oneself in the way of” occulted superpositions, such that the magical complementarity of two songs from discrete time periods could be summoned into actuality. But the Ides/Inez drop was of a wholly different order, which X only ever subtly alluded to. You could hear the dominant 7th ostinato hammered out by Cale and Riley adapted by the Foxx’s at the start of their “novelty” tune (the hyper-pertinence of such an appellation was not lost on X), insistently grounding the straightforward troping which soon followed.

The thought-glitch secreted a peculiar feeling. A series of pedal points had begun, accompanied by an awareness of impending superposition.


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