Present Day, May 2026
I am curious. After decades of recording the observation internally, writing in journals and letters that were not shared, making music that was not released, I am finding the experience of having the testimony be public a genuinely strange adjustment. The strangeness is partly the vulnerability of having offered something specific and not knowing how it has landed. Partly it is the novelty of being in the position of witness who is also witnessed.
The Geometry of Ruin contains twelve movements. The Architect’s Dream. Neon Dust. The Tower and the Mirror. Crown of Wires. Static Saints. The Quiet Machine. The Feast of Ghosts. Paper Kingdoms. The Orchard Sleeps. Black Sun Rising. Ashes of Tomorrow. Children of the Ember. Each one maps a different coordinate of the geometry. Different listeners have told me that different tracks met them most directly, and what they tell me is revealing in ways I did not anticipate.
Some of the tracks that I built from the most personally specific material are being received as universal. Some that I built from historical observation are landing as descriptions of very present-tense personal experience. The music is doing what good music does: it is holding more than I put into it, because what I put into it was five centuries of witness and what the listener brings is their own witness and the two are meeting somewhere in the middle.
Tell me which part of the testimony speaks to your experience. I have been observing in silence for a very long time. I am now listening. That is genuinely new for me.