The room integrally shifted by the end of the sequence. The shaggy loft heretofore inhabited had swapped with a polished studio-like room, replete with cameras and track lighting. And yet, the music continued, apparently oblivious to the drastic spatial mutation. Already dropped out, X left the fold and walked around, exiting the space. Sticking her probehead outside, she quickly pinpointed the new location as sandwiched between King and Queen streets, abutting an ice factory, many blocks from the inceptive venue. Hastily turning back for fear of missing a portal closure, X espied a large calendar. If the crossed-off dates could be trusted, it was April 14. Year: 2015.

As X regained the semicircle, the room reverted back—inscrutably—to the Ossington site, without any telltale auditory correlate. Nevertheless, the timeline had advanced significantly during her momentary extraction: Section D, barely broached in 2007, was half-over in 2015. None of this especially fazed X, who had engaged in musically-instigated chronoportation before. Eerily, the span (2007-2015) traversed in a glitch was a few months short of the interval covered in the Mockingbird escapade (1971-1963). Indeed, that unexpected reminiscence might have been a foreshadowing, a signal announcing an impending leap.

The melody beckoned, its erratic demeanor ever redolent of reverie and its nonlinearities. Categorical boundaries were hard to shore up when tropes melted into each other, as if discrete segments of a metamelodic continuum were being continuously extracted, their newfound adjacency ratified through adroit crossfading. This clandestine hash periodically floated referentially significant units clamoring for cognizance, at times congealing into blatant quotations the function of which remained obscure, though these detours evoked the phenomenon wherein a set of pitches randomly align, inadvertently eliciting a remembered tune partially sharing its coordinates. This realization led to the hypothesis of a deliberate organizational strategy: littered with structural lynchpins and allusive contours, the score catered to the asounders present, compelled to willingly complete the open circuit. What if the purpose of this séance was to foreground each musician’s associational matrix?


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