Ursula K. Le Guin & Todd Barton

Music and Poetry of the Kesh

— The LP will include a deluxe spot printed jacket with illustrations from Always Coming Home, a facsimile of the original lyric sheet, liner notes by Moe Bowstern, multi-format digital download code and a limited edition bookmark letterpressed by Stumptown Printers in Portland, OR. [SOLD OUT]
— Each purchase includes a multi-format download redeemable via Bandcamp.

Notes
Tracklist
Notes

CAT #: FTS009
March 23, 2018
Second Edition: May 2018

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin’s Always Coming Home. In the novel, the story of Stone Telling, a young woman of the Kesh, is woven within a larger anthropological folklore and fantasy.

The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet (Le Guin’s conlang, so she could write non-English lyrics), and with early editions, a cassette of “field recordings” and indigenous song. Le Guin wanted to hear the people she’d imagined; she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition.

For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist (the two worked together previously on public radio projects). But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. For instance, “The River Song” description reads, “The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.”

According to writer and long-time friend of LeGuin, Moe Bowstern (who pens the liners for the Freedom To Spend edition of Kesh), Barton built and then taught himself to play several instruments of Le Guin’s design, among them “the seven-foot horn known to the Kesh as the Houmbúta and the Wéosai Medoud Teyahi bone flute.” Barton’s crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders Bobby Brown and Lonnie Holley. Bowstern notes, “Other musician / makers have crafted their own Kesh instruments after encountering the earlier cassette recordings that accompanied some editions of the book.”

Both Barton and Le Guin are sensitive to the sovereignty of indigenous Californians and were careful not to trample the traditions of the Tolowa people who lived in the valley long before the Kesh. “You research deeply, and then you bring your own voice to the table,” said Barton. Within the Kesh culture, the numbers four and five shape the lives, society and rituals. Barton composed loosely around these numbers, patiently listening to the land of Napa Valley for signs and audio signals from the natural elements. Todd incorporated ambient sounds of the creek by Le Guin’s house and a campfire they built together.

The songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. “Heron Dance” is an uplifting first track, featuring a Wéosai Medoud Teyahi (made from a deer or lamb thigh bone with a cattail reed) and the great Houmbúta (used for theatre and ceremony). “A Music of the Eighth House” sends gossamer waves of the faintest sounds to “float on the wind.” Like the languages invented in the vocal work of Anna Homler, Meredith Monk, and Elizabeth Fraser, the Kesh songs and poems play with the shape of voice.

The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin’s illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures.

A line from “Sun Dance Poem” reminds us, “We are nothing much without one another.” Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of Music and Poetry of the Kesh also availably on digital formats on March 23, 2018. The LP will include a spot printed jacket with Ursula’s illustrations from Always Coming Home, a facsimile of the original lyric sheet, liner notes by Moe Bowstern, a multi-format digital download code and a bookmark letter pressed by Stumptown Printers in Portland, OR.

First edition limited to 1,000 copies.

Tracklist
LP

Side A (33 RPM)
A1. Heron Dance
A2. Twilight Song
A3. Yes—Singing
A4. Dragonfly Song
A5. A Homesick Song
A6. The Willows
A7. Lullaby—Lahela

Side B (33 RPM)
B1. Long Singing
B2. The Quail Song
B3. A Teaching Poem
B4. A River Song
B5. Sun Dance Poem
B6. A Music of the Eighth House

DIGITAL

01. Heron Dance
02. Twilight Song (1:00)
03. Yes—Singing
04. Dragonfly Song
05. A Homesick Song
06. The Willows
07. Lullaby—Lahela
08. Long Singing
09. The Quail Song
10. A Teaching Poem
11. A River Song
12. Sun Dance Poem
13. A Music of the Eighth House