The usual extensive precautions taken prior to their meeting up, Jahrae and Kukaeshra were now looking at each other across sales shelves in a small northern Arrhazon City store.
The store was devoid of any security paraphernalia, and it was in an out of the way location, where no security types would even begin to think to look. Moreover, the two acted as independent and solitary customers, carefully couching their comments such that no one around them would notice they were conversing.
They would interact briefly, one would move to another rack and look through it, and then they would come face to face at yet another rack. At other times, they stood side by side, looking forward as if studying what lie in front of them.
Their real reason for meeting was to discuss the second release of llhaesa’s final songs. The first achieved spectacular results and created a huge public outcry. This second release should build upon this, escalating public pressure.
With the imminent début of the new release, Kukaeshra had recommended Jahrae, M’traliel, Saehressa and Mrevan, Khahishra, Hrilleae and Djellrin, etc go into hiding. All but M’traliel and Jahrae were now safely scattered to places of safety, and after this release, both of them would move in with Jesnsera for a short while, until Jesnsera found them other secure accommodation.
The next release in her closed jacket pocket, Jahrae would wait until they were out of the store and among a larger crowd before making the transfer to Kukaeshra. This song, titled Corporeal Superficiality was a defiant declaration by llhaesa of how the government goons might destroy her body, but they would never destroy or take away her heart, her soul, her beliefs, her spirituality, her outlook, and most especially her love for Jahrae. It ‘featured’ llhaesa playing an acoustic guitar, which she played as expertly and nimbly as her keyboard work, and which ultimately would catch those less familiar with her work totally by surprise.
With this song, Llhaesa’s voice displayed its natural, unique, and somewhat raspy nature – how it sounded when she did not intentionally refine through years of training into a more consistent, less throaty sound – best suited for classical works. The natural and raspy was quite appealing in other genres, though most often, llhaesa did not let her voice go this route.
Jahrae was quite familiar with hearing llhaesa sing this way during practice time. Beyond classical training, this was also for health reasons – this style was straining on llhaesa’s vocal cords, even if she were predisposed to sing in this manner. Yet if someone asked her to choose and forced to answer, this voice was the one Jahrae most loved to hear. It represented the unfiltered and incredibly pure, raw and powerful voice of llhaesa, bereft of formal musical training – a blow out, kick arse blues sort of feel.
The faux shoppers left the store at different times, moving toward the market area as any shopper would – by window-shopping. The market at midday hosted thousands of people, who congregated around the myriad of food kiosks and shops. Jahrae reached the market last, finally heading for the first lamppost on the far right of the market block.
As expected, Kukaeshra stood in the general vicinity of the post, fumbling with what she pretended was a shoe problem. Hundreds of people moved within 30 metres of where she stood. She carried a purchase from the store just left, as did Jahrae, but Kukaeshra’s sat with her bag on the pavement as she fumbled with her shoe. Jahrae passed, accidentally dropping her purchase next to Kukaeshra’s identical bag, and then stooped and picked up Kukaeshra’s bag, while leaving her own – with the recording – with Kukaeshra.
Once again, Kukaeshra tasked to her musical mission. She pronounced her shoe as ‘fixed,’ slipped back into it, and headed off on public transport with her invaluable if hidden new possession.
Another 3 hours passed before Kukaeshra safely sat in her secret office, about to play the recording. The first release had brought her to tears on first playback; she wondered what her emotions would be after playback of this newest song. This song was slightly longer than the first at 7:24, and as it played, the expressions that left her mouth grew from “wow” to “fucking eh! Way to go llhaesa!”
Kukaeshra found herself standing, applauding, and generally whooping it up. A few on duty personnel ran in to see what was going on, then stood there looking on curiously, watching their boss as she thrust her fist into the air, spun around, danced, and yelled out things like WOO HOO!
Finally, she stopped, just looked at the three onlookers, and smiled. J’saera was again on duty, and again Kukaeshra passed the recording to her, explaining to J’saera what she put in her hand. She had less than a minute to get back in the studio.
The two rushed down the hall into the open door studio. Kukaeshra closed the door behind her, while the on air light triggered outside, warning others away. The time wound down on the current set of songs, and right on cue, J’saera began to speak.
“I’m certain all of you out there are familiar with llhaesa t’yaeli’s release Forever, Wherever – one of three songs she recorded on the final night of her life, before that life was ripped away from her by the government’s – Brellian’s – murderous thugs. Who isn’t familiar with the song and her story now? Well, now we have the second release in our hands, ready to share with you.
I’ve not heard the recording as yet, so as with the first, I will hear it for the first time with all of you. Llhaesa ahrella t’yaeli has come to be our spiritual societal guide, who even in physical death lives on, who leads, relentlessly challenges and pushes for change, who stands by us all, who calls out ‘there is hope’ where the rest of us might only see despair. When I think of llhaesa now, I not only think of how she is the best our world has ever produced, I think of her incredible courage, kind-heartedness, and power to stand and lead without ever losing her commonality.
They took her away from those she loved and loved her, took her from us all. Yet we are about to hear from her once again – from a place Brellian would have thought impossible, from beyond death – still challenging our world to change.
It is my great honour to play for you llhaesa ahrella t’yaeli’s second of three final recordings – Corporeal Superficiality.”
All over the world, people not listening received quick messages from excited listeners to tune in to the broadcast. Within moments, an entire world listened to the newest ‘llhaesa’ (as they now commonly refer to her work) 15 months after llhaesa’s existence came to a nightmarish and abrupt end. This very same world sat enraptured by what they were hearing, stunned by the defiance and the incredible courage, but also by llhaesa’s slightly different voice style, combined with her inspired guitar play.
In that 7:24 of first time playback, the fourth world in the Arrhkan system moved one major step closer to full blown revolution.
It took me a minute to recall what, after reading your beautiful passages, what this project reminded me of . . .
Charlotte Salomen was an artist little well-known but her work of art was great. She called the work, “Life? or Theatre? A Play with Music” and it is a roughly 1,300 page quasi-fictional diary of music, text and pictures. Unfortunately she lived during the time of the Nazis and was condemned to a death camp. But the magical art that pours from this diary reminded me of your beautiful ambition to integrate words and music. You may not have the actual musical notes written for your opus, but the theme of music pervades everything and makes it beautiful.
I too intend to keep reading your work, and tell you what I am thinking. We may be able to inspire each other. In the meantime, I’m linking your site to mine.
Thank you for your kind words, and for sharing a bit about Charlotte.
I’ve added your blog to the sidebar blogroll, and look forward to reading your work.
Have you registered your blog at BlogHer?