Some notes on the tracks.

Spell (2011) was a contribution to an anniversary compilation on the Auraltone Music label.

The Brighton Railway Murder (2017), sort of an electronica murder ballad, features readings by Cori Samuel from the old book Survivors' Tales of Famous Crimes. The recording is from Libravox, a wonderful collection of public domain audio books and recordings.

For Marco Lucchi (2012) is dedicated to a composer and friend, with whom I have fascinating musical affinities and differences. I hope some day to convince him about Brahms.

On a phrase by Beethoven (2015) takes a misremembered fragment from that composer's chamber music as the theme for a set of variations. The variations expand and become more and more rhythmically disorganized as the piece continues.

Letter home (2017) is made mostly from samples recorded in or near my long-time home in Massachusetts.

Some noise for Terry Riley (2017) is based on structure similar to that of the composer's famous piece In Cfree progress through a sequence of repeated phrases - or, in this case, looped samples. It was written as part of a tribute to Riley's classic album A Rainbow in Curved Air.

The long title of A brief excursus on anaphora and epistrophe (2017) is a description of the piece, which is a tiny essay on the beginnings and endings of the phrases of a longer melody.

Passacaglia (for Elizabeth Veldon) (2013) is dedicated to another composer and friend who has made an astonishing variety of music, including long form noise and drone across a spectrum from skull-crushing to incredibly gentle and subtle.

Footnote (2013) is one of the source recordings for my last album Blake Pieces, and a link between it and the old sketches that inspired it.