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Dear Seki,

Remember back in the summer of '98 when I heard the first mixes of your album? Your ears were burning and Kurt Schlegel was taking time out from recording you guys to practice the kalimba for the last dying moments of "Ghoster". It was hot and I called to ask if you guys wouldn't mind going back into the studio to add cello or strings or keyboard to flesh out the sound a bit. You promptly and with a certain amount of disgust turned that idea down and reminded me that the point of Seki was to do as much with guitars as possible. You were sick of guitarists playing keyboards and wanted feedback and noise. I think you were listening to a lot of June of 44 and Drive Like Jehu at the time.

I didn't believe you at first when you claimed that you'd spent as much time developing discordant tunings as you spent dreaming of river navigation. Well, it's nearly a year later and I'm listening to the final recording and I am so glad that you didn't take my advice. You've recorded so many notes at such calculated moments that it's taken me scores of listens to catch all the directions this album takes. How do you find the time between side projects like the acoustic melodrama of the Keon Crest Estate and writing future Pulitzer Prize winners?

You guys may not appeal to everyone, but I think you've come to realize that after playing shows around San Francisco. Halls quickly empty out as soon as your songs dive from quiet, complex patterns into slabs of white noise, but there's always some smiling, swaying fool who stands right in front of you with total disregard for his hearing. I can't stop listening.



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