you don't know what you're singing

Back in Frankenstein, we introduced the actors to Deep Listening via the Tuning Meditation. The resulting songs for Frankenstein have this characteristic "cloud" of tones that the actors chose in the moment. Melody  moved toward, or away, from other melody.I kept thinking of Ben Goldberg's composition: All Chords Stand For Other Chords.

For Winterland, the technique resurfaced to an uncertain effect. It could have been launching from a point of familiarity, a gravitation toward my sound, which wasn't really coming out of my mouth due to a tremendously bad headcold, or just a bad idea.

All vocals replaced by snarls.

-so'k