a story I started to make up about playing Park Detail's Band is: everything is coming from missing a real piano; playing bass with the cz-1 is making up for not having as close physicality as the real piano. and half way through tour I made a keyboard split and put a backwards version of the sound to the right of it, and that felt the same too, that I could get closer to some missing thing with this extra sounds. But the thing I'm getting closer to only existed in my mind, so all the missing and re-approaching is only making it shown for the first time to others. one part of that is the surface of the piano sound, like what I'd imagine the shimmering surface of flows separating waters of differing salinity. lifting off and away from the body and mass of the sound, refocusing on the surface, and the surface of that surface, and so forth if manageable. so the backwards sounds ought to be things you might hear in a mass of the forwards sounds (anticipated on the first night by Peter Kolovos' backwards bits only under the loudest ringing sustained tremolo picked chords.)... the bass might be phantom patterns in the differing sweeps of each reattacked ringing chord.. of course they become things and then we try to search for the surface of these masses, hopefully. (and by the way, in the split I thought of Charlemagne Palestine with double pianos for playing unisonos, who might be in a similar place I'd like to ask about)
hope in instrument design of that retreat upon retreat to impressions of appearing surfaces. of holding this steady. setting and vanishing appearances with better understanding and will, not too behind or ahead of the moment.