Late yesterday afternoon, a palette of boxes containing my The Biblical Record CDs arrived at the School. The larger part of the batch will be sent to the National Library of Wales. They will sell it from the library’s on-line shop, along with the other two CDs in the series: R R B V E Ǝ T N Ƨ O A (2014) and The Bible in Translation (2016), which are currently available. The latest CD won’t be released until a launch event (which will include a public lecture) has been determined.

Once a piece of work is in the public domain, I’m no longer attached to it. The exorcism is over. But I’ll remain interested in, and taught by, it. I enjoy my sonic work; it inheres a combination of qualities and attributes that no other artists’ work possesses. Which is why I made the work in the first place; I wanted this configuration of sounds to be in the world … for me, foremostly.

9.00 am: Back to The Biblical Record website for a little fine tuning, filling-in, and illustrating. (Jimi Hendrix’s Live at Woodstock played in the background. Were I to acquire a time-machine, his performance is the first historical event that I’d return to.) The albums’ websites are designed to be dynamic, rather than static. Reviews, performance details, and addresses can be added over time.

After lunch, a little light photography to plug the gaps where a picture could paint a few words, anyway:

By mid afternoon, the website was a complete as it needed to be for launch. I could, then, revisit the sites for the first two albums and implement stylistic changes in order to bring them into line with the latest one.

7.30 pm: I’d continued styling The Bible in Translation website, which I’d commenced during the late afternoon.