Beyond the Veil

Modern music is as dangerous as narcotics’, wrote the composer Mascagni. Accordingly, you will need no pharmaceutical assistance as DJ Bitfield takes you on a spiritual journey through psychonoetic worlds beyond traditional harmony, accompanied by Arvo Pärt, Max Richter, John Tavener, John Adams, Einojuhani Rautavaara, and Henryck Górecki.

  1. 00:00 Max Richter - Spring 1 (Recomposed: The Four Seasons)
  2. 02:29 Arvo Pärt - Fratres for Cello & Piano (Fratres)
  3. 14:07 John Tavener - 1. The Protecting Veil (The Protecting Veil)
  4. 21:56 Arvo Pärt - Sarabande (Collage über Bach)
  5. 24:58 John Adams - Loops and Verses (Shaker Loops)
  6. 31:48 Henryck Górecki - No. 3 (Three Olden Style Pieces)
  7. 36:11 Einojuhani Rautavaara - 1. Con grandezza (Piano Concerto No. 1, Op. 45)
  8. 45:55 Arvo Pärt - Ludus (Tabula Rasa)

Download the MP3: Beyond The Veil.mp3

No wrong notes

The piano ain’t got no wrong notes.
—Thelonius Monk

Here is a photo tour of my piano (which I may or may not have mentioned before).

The process of buying this piano was interesting. Being a digital sort of person, and owning a half-decent MIDI keyboard already, I first looked at digital pianos such as the Yamaha Arius, which is fairly affordable and a bit better than a regular electronic keyboard. I went to Chappells and played a couple, and while they were perfectly fine, that’s all they were - fine.

For musicians, buying an instrument is a process of mutual seduction. You want to find the instrument that captivates you, that makes you sound amazing, that you can’t stop playing. The one that seems to fit you like a lover, and responds willingly under your hands. The digital pianos, by contrast, were clean, bland, and sexless (so to speak). I decided I needed to look at acoustic instruments, even if it meant stretching the budget a little to get something of quality (I still had no idea at this point how much I’d end up spending).

So I went to a few second-hand piano shops to look at what was around. Most of what I saw was pretty feeble: poor old broken-down things which were barely in tune, with sticky actions and wobbly voicing. When I told one proprietor what I was looking for, he perked up and said, “Ah! What you want is a musician’s piano.” I was a bit puzzled by this (what other kind of piano is there?). But, when I thought about it, I understood what he meant. People buy pianos for lots of reasons, not all of them musical, and there were some gorgeous shiny black satin beasts in the shop which were clearly made to be furniture.

One shop I went back to a couple of times, because the owner (a piano technician and restorer) was immensely knowledgeable and forthcoming, and quite happy to let me roam the shop all day, plunking and tinkling a variety of ivories at leisure. To his enormous credit, he never tried to sell me a piano (if only all piano shop owners were so wise). Instead, we just talked and talked, played music, drank tea, and let nature take its course. In a corner of his shop was this beautiful old Bechstein:

It looked a bit tired and unloved, and in need of a fair bit of restoration, but it sounded glorious: sweet, dark, and smoky, like brown sugar. I knew I’d found my piano! A couple of months, an action overhaul, a good clean, regulation, voicing, and a very substantial cheque later, it arrived at its new home.

It’s a C. Bechstein Model 9, made in Berlin in 1911. It’s fun to speculate about all the owners it’s had before me, the houses it’s lived in, and the music that’s been played on it.

Since it arrived, it’s very quickly become part of the family, if you like, and I spend many a happy hour in the library plonking through bits of Bach, Beethoven, Satie, and so on. Every day after work and before dinner I’ll have my piano ‘playtime’ (never ‘practice’). Sometimes I like to put on Herbie Hancock and Art Tatum records and jam along, or improvise free-form jazz odysseys like Keith Jarrett. Other times I wind up the metronome and have fun seeing how fast and accurately I can play technical exercises like Hanon, Schmitt, and parallel motion scales.

But the main purpose of a piano, as I’m sure you’ll agree, is to play Bach, and that I do in full measure and with huge joy. There’s something wonderfully accessible about great music. If you love works of art, it’s usually something you can only experience as a consumer. You can’t sculpt your own Henry Moore, or paint your own Mona Lisa. But you can buy or download the sheet music for a Bach prelude, and hunt and peck your way through it.

There’s no level of musical ability where you can’t play Bach (or anything else for that matter). You may do more or less justice to it depending on your technical skill and musicianship, but even I (hesitatingly, and with many wrong notes, despite what Thelonius Monk says) can produce those marvellous sounds and, for a moment, be the conduit for the magic.

And there really is nothing like a real piano. When you play it, it plays you back. You can feel the momentum of the hammers flying up to the strings and back through the linkages and keys to your fingers, and hear the sympathetic harmonics of every note across the hundreds of strings, resonating and singing like Tibetan bells. It’s alive in a way that even the most sophisticated electronic instruments can’t be: a messy, complicated, organic life, which makes it a never-ending joy to play.


I noticed this little bunny (Oryctolagus cuniculus) hopping around my lawn the other day and took a sneaky picture. A few days later I was sitting in the garden looking at things and thinking, and thinking and looking, when two rabbits appeared! Probably a buck and his doe, or the other way round if you are not being sexist, but I am not sure which is which.

They seemed quite happy to coexist with the pheasants (Phasianus colchicus) who also like to roam my lawn in the velvet cool of evening: a cock and his little harem of three hens (much of Nature seems to be regrettably pre-feminist) who like nothing better than to gobble up my freshly-sown grass seed and sometimes steal food off the bird table. The rabbits, while incredibly nervous of any sound or motion, seem entirely oblivious of the pheasants pecking around them, and vice versa.

Interestingly though, when a raptor of some kind flew over, and the cock gave his wild alarm shriek, the rabbits also scattered for cover. Evidently they don’t mind pheasants, but they are smart enough to use them as an alarm system.

It is a fine thing to lounge in the garden and watch so many different species of animals eating all my stuff. Well, there’s plenty to go around.


This was my breakfast the other day, which looked so nice I thought I would share it with you before it got gobbled up into my huge ravenous maw.

It is slow-scrambled Cornish eggs, on buttered ciabatta and topped with fresh-ground black pepper, smoked sea salt, and fresh chives from my newly-installed herb garden. I do not know too much about gardening yet, so I probably should have tested these for poison before eating them, but luckily they were more or less non-toxic. And the scrambled eggs were delicious!

The whole to be washed down with a draught of rich, nutty, fresh-ground Colombian Supremo coffee. This is one of my favourite types of coffee, even if I am only a Cornish supremo and hence technically not entitled to it. Fortunately some inspectors have not come round yet to check my supremo eligibility.


We are a two-world species, which is probably an extravagance, like a two-car family, but never mind. This is our spare world, which is not in use at the moment, but we keep it in a handy orbit, just in case. And it makes a pleasant companion in the garden on a spring evening.

I took these pictures (in daytime) with the iPhone 5 held to the eyepiece of the 6-inch reflector, and I’m pleasantly surprised with the results. I processed them a little in Lightroom to improve contrast and remove the colour channels. The picture above was taken with the 25mm eyepiece.

Detail view with the 10mm eyepiece. Annotated versions after the jump with some interesting sites and features marked.

Springwatch with keithlard

Daffodils, Narcissus pseudonarcissus

Some local flowers, interviewed yesterday by our intrepid reporter. We ask the tough questions they didn’t want to answer.

Primroses, Primula vulgaris

Forget-me-nots, Myosotis sylvatica

Grape hyacinths, Muscaria armeniacum

The One

Q: What happens when you combine bitfield, DJ The Major, two iPhones, and no adult supervision?

A: This delightful ambient techno live mix. Operate with caution. May bring the universe into being.

Download the MP3: TheOne.mp3


bitfield & DJ The Major is an easy-to-use device for turning beer and crisps into ambient techno. To operate, simply load the required raw materials into the two mouth-shaped hoppers at the front, and press the ‘MIX’ button. After a few moments, music will begin to pour out of the dispensing slot. Collect the music in a large jar or beaker, making sure not to spill any of the delicious sub-bass, and enjoy at your leisure.

  1. [00:30] Matthias Grassow — Morpheus Part V (Morpheus)
  2. [17:20] Matthias Grassow & Jim Cole — Deep (Deep - Breath - Silence)
  3. [24:41] Matthias Grassow & Klaus Wiese — The Gothic Passage Part I (The Gothic Passage)
  4. [30:30] Matthias Grassow & Siegmar Fricke — Ganymede (Aurora)
  5. [43:27] Matthias Grassow — Psychicdome (Spiritual Archives)
  6. [1:21:03] Markus Güntner — Niederwald (Doppelgänger)
  7. [1:29:52] Matthias Grassow — Timeroom (Forgotten Memories - The DAT-Retros)

Download the MP3: Infinity.mp3

The painting is by Alex Grey.

bitcast: part one

Mixed live on bitfield’s phone in Cornwall, a special festive podcast inspired by the excellent Passage podcast. Featuring the music of Goldie, Mathias Grassow, Klaus Wiese, and Cypress Hill. The bitcast is sponsored by the Virginia Foundation for Ambient Techno, the British Seriously Monged Music Association, an anonymous donor, and the Cornish Bacon Producers’ Alliance.

  1. [00:00] Terra Ambient — The Glass House
  2. [01:29] Goldie — Still Life
  3. [05:54] Mathias Grassow — Electric Bowls Part XVII
  4. [08:41] Casino Versus Japan — Go Hawaii
  5. [11:48] Mathias Grassow — Morpheus Part V
  6. [13:42] David Parsons — Bathing Light
  7. [17:00] Markus Güntner — Niederwald
  8. [20:15] Klaus Wiese — Ta-Ha I
  9. [20:42] Bruce Kaphan — Clouds
  10. [22:00] DJ Shadow — Midnight In A Perfect World
  11. [26:50] Mathias Grassow — Mercurius Part I
  12. [27:46] Cypress Hill — Boom Biddy Bye Bye

bitcast_ part one.mp3

Keithlard's Magic Piano

Well as those of you who follow this closely will be aware, I have lately taken up playing the piano (audio evidence). It is alright tinkling away on my entry-level Bontempi keyboard (which admittedly is driving a Mac playing samples of a £100,000 Steinway), but it is not the same as having a real magic piano of your very own. So after some considerable amount of scouring piano shops all across this land, I have acquired my new instrument (pictured).

It is a rather lovely 1911 C. Bechstein Model 9 and we made friends straight away in the shop. It didn’t follow me home exactly, but I’m sure it would have done if it could. So I have commanded it to be expertly restored, tuned, and topped up with coal and oil, and it is now installed in my library, or music room, depending what I am doing in there at the time.

Here is a poor-quality phone recording of me playing it, complete with accidentally-on-purpose wrong notes, so you can hear what it sounds like:

J.S. Bach - Prelude No.1 in C major.mp3 (The Well-Tempered Clavier, book I)