One listen and got through it with what I felt was a good deal of ease. I’m operating on nowhere near enough sleep today, so getting to this one and being a bit more loose and relaxed about what I was writing than I was the prior music writings from today is a good thing.

Did that looseness come through well? I think yes and no. There’s uncertainty about what I’m hearing and what is coming forward, which might be a good thing. I found images of structure, of natural scenery, and of finality. I feel I could’ve explored these a bit more than I did, though maybe how I covered them does work well for the song. They came at different moments rather than all at once, so there’s a flow, but maybe that’s me trying to convince myself that what I did works well.

Patrick Sansone’s “Press to Null” is from Infinity Mirrors.

I hope you enjoy.

—

Keys call out, and a bright shining vibration responds. Keys call out once more, and maybe they actually are creating and guiding the vibration. It’s a gentle moment. It’s a peaceful moment. It stretches on through this quiet space that could be as bright as it could be dark. Nice and gentle, and more sounds come forward between keys.

Filling out, building to something. Building to nothing. Building to everything. Almost a symphony of crystalline sounds, humming, shining, vibrating their way into mass and form. Into defined shape.

A deeper sound underscores and changes the flow. It rises when necessary and now everything is a low grandeur. Massive. Small. Emotional. And everything grows. Slowly. Everything grows and takes new shape, becoming new form that remains as it always was, and it’s all calm at a quiet shoreline, or above clouds, moving smoothly, floating away, floating among pretty skies.

There’s a wonderment to everything. A wonderment, a deep sadness, but a deep peace. Perhaps an acceptance, and a pleasantness among it all. And it’s all climactic, but low. Low grandeur, carrying forward into the last moments before everything stops and the song ends.