the roundup began in the morning when i had nothing to do
so i looked around, had breakfast and coffee and, of course, ended up on my computer
I started to gain some momentum, ah this article
that i have been meaning to read
now is the time to better myself
but then am i reading the right article?
am i reading the article right?
so i go here for context
another thing by the same author, and their sources too
oh yeah and that album came out last week didn’t it? but i still haven’t listened to their second one…
i can feel the tabs closing as i open them
anyway, here is something
One day this constricted torso
and the small viewing glasses that sit atop it will
feel that hollow canister constrict just a little more
the pressure inside
crying, out! out!
Well, gee, wouldn’t you know
they were right,
life passed you by
no hair where it matters
no pain in my back
no throbbing veins
no stubbed toe
they can see better than we, did you know?
Can we have a thumbnail?
I gulp and panic: will they prefer, hammer, scissor, or knife?
they said jpeg or pdf is fine
a moment in disguise
An earl grey tea bag remains from the morning
Early cold cloud through the window
A switch in perception between video click and still life gesture
Puddle in a peanut butter jar cap
The modern view ignores the clutter
Isolating groups into systematic form
The plants in the corner haven’t been watered, their leaves are yellow and dropping
I can still hear the steam pot in the kitchen,
and emptying tea leaves into the trash with three quick paradiddles
Add some sound and a picture gains momentum
-ode to ee cummings
the sizzling gate hampered by my whimper
and yes maybe the exhibition
was a bit beyond what the night called for, I
hope the morning coddles my contrition
for now there is a rumble that confers
momentum into my left leg and lung
I tumble and am pulled along after
the wooden doll speaks through a swollen tongue
selling you signs of dreams and picture prints
blue paint faded so you can’t read the eyes
noises of the market hide any hints
that might clue you in as to what this speed buys
seventy percent sends signals of done
I can’t believe the speed at which I run
as a kid playing, or someone nearer winter
life can look like blocks
Aaron Edgcomb (he/him/they) is a composer, drummer, and percussionist from Reno, Nevada, currently based in Brooklyn, NY whose work appears in such contexts as improvisational music, jazz, “new music”, noise, and song. At the forefront of Aaron’s artistic practice is examining how music creates and changes social and political identities.
Aaron has performed in and composed for many ensembles including: the avant-rock band Clak; the solo percussion and electronics project REA; The Gown of Entry, an improvisational trio that incorporates poetry; and the improvising hardcore trio Trigger. They have collaborated with such artists as John Zorn, Ted Reichman, Chris Williams, Adam Dunson, Katie McShane, Joanna Mattrey, The Ladles, and Anthony Coleman.
Aaron has performed extensively around the world at such venues as the MoMA PS1, National Sawdust, the Philharmonie de Paris, the Elbphilharmonie in Hamburg, and the Jazz Em Agosto Festival in Lisbon; not to mention the uncountable and invaluable living rooms, garages, basements, and DIY venues that work so hard to keep creative music alive.
Aaron’s relationship to poetry extends back to his early days, and in many ways Aaron correlates poetry to music in terms of clarity/abstraction and expressivity.