Rotting for You

I’ve been rotting for you. I’ve seen
Shadows dance beyond my hallowed
Lids, heard the paper of the world
Begin to open.

In December I forget how
Visions heal a man, then remember.
On the third day of silence my true
Love gave to me a basket woven

From hollow thoughts, and I thought
About sending it back. I’m rotting and
Plotting and plodding, writing poems
To project poise and

Profundity. Perilous.
Maybe hilarious. I’m trotting out fits
Of noise and lighting candles with
The tone of my voice. My hands

Conspire to give salute to the giver
Of fire, and I nod, and they do. In
December you weave shadows of
Poise. You write

Silence. You give true
Light, sending visions, healing my
Paper hands. I remember the third
Love, and, plodding, begin back.


The above poem also inspired the following Le Prof track on my album ‘Aleatoria:’



The station wagon nose pointed at the sky,
The fates hopefully know I’m too fat to lie.

I moved up the bridge, the engine growing hot.
I was driving up the mountain that stands by

Those forgotten Jack pines and their knowing hands,
Smacking the snow-drunk wind tit-for-tat, when I

Felt the top tip back over our heads. We were
Dead. We were falling up and flat, the sigh

Of metal lost in rocks that tumbled from the
Night, calling us, climb the ziggurat and die.


The above ghazal also inspired the following electronic track on my Le Prof album “Aleatoria”:

Fury and the Guard

A song is meant to end.
That day you showed me,
without guard, the fury and
the meaning, did you
know what you were taking?
What would begin without

a thought? Without song,
you showed me meaning
without end. You were
fury and the guard,
the day, the taking,
meant to know, to


The above poem also inspired the following track from my January 2017 Le Prof album, Aleatoria:


Le Professeur–How I Began Recording

I remember my friend Erick’s computer from childhood. It was the mid-nineties and they had some PC running Windows 95, and it was the coolest thing I had ever seen. Sometimes I would go over to their house Sunday afternoons after church and coop myself up in the computer room and just doodle all day in MS Paint. Because, painting.

Fast-forward a couple of years and Erick’s computer had moved to the basement, and he had a sweet new program, a DAW (digital audio workstation) called Cakewalk. Ah, yes. The glory days. Now I would go over and Erick and Scott and Doug and I would spend an afternoon using 1/4″-1/8″ audio adapters to go direct in from his old Zoom pedal with guitars and bass, and singing into someone’s $9.99 Radioshack microphone, and after a few hours, presto: we’d record an album. The world was a simpler place.

Continue reading “Le Professeur–How I Began Recording”

In Like a Lion: The First Trivium


In Like a Lion is an album I wrote about a decade ago, recorded to some extent, scrapped, then completely re-recorded again this past year. It opens with a group of three tracks (“Vespers,” “Cabin in the Woods,” and “Pioneer Hill”) that form a sort of trivium. I can’t seem to imagine any of them without the others. Aurally they share a key relationship (A minor and C major, easy-peasy) and some common instrumentation choices. Production is also similar from track to track, though “Pioneer Hill” veers away from the others with the full drumkit and rock feel toward the end.

Continue reading “In Like a Lion: The First Trivium”