Broken Hours is the psycho-acoustic experience of Luke Lefler,
audio artist and former KBOO regular programmer.
Broken Hours has contributed eleven short remixes to
One Hundred and One Hours of Innumerable Small Events
Which May or May Not Be Related to One Another
in addition to its scheduled piece, the Splice Finders-produced
The Herbed Brie Period by B. Blatherscape, Even.

The title is an anagram of the title of the 1923 Marcel Duchamp work
The Bride Stripped Bare By Her Bachelors, Even
but the piece has little else in common with Duchamp's Large Glass.
Rather, initial work on The Herbed Brie Period began with
1) its title, 2) a determinate length of 23 minutes and 23 seconds,
and, 3) a description for the Festival brochure:
"...a criticism of generalization,
a scathing putrefaction of clinical depression,
and an indictment of reality and its progenitors,
in the guise of a soft, fermented krautsoul cheese."

Production commenced in earnest on August 14, 2008,
with the additional intentions of employing
The Dramatics 1971 Top 10 single, "Whatcha See Is Whatcha Get,"
and Traffic's (coincidentally) 1971 classic "The Low Spark of High Heeled Boys"
(the latter because its 11:41 length doubled, plus one second,
equals the projected 23:23 length of The Herbed Brie Period).
During production other sources were neglected out of a desire for economy,
and indeed the only other recognizable recordings are
Acoustek's interpretation of Brian Eno's "Sparrowfall," and the opening from
Cosmic Baby's version of "Dr. Von Steiner" from the Hands On Yello Tribute CD
(the inclusion of Cluster and Eno's "Broken Head" was abandoned early on).

It is an audio capture of some brief improvisation upon
the piece's title by Luke Lefler's partner Nicole Wagner
that breathes soul into the work, wherein the oft-mentioned Herbed Brie,
now "giant," "moldy on the outside" and "descending from the sky,"
manifests as a palpable entity evidenced by canned sound effects,
reinforced and elucidated by the trio of borrowed music themes
and the various hybrids created from them in the digital audio workstation.

The likewise anagram-derived entity "B. Blatherscape,"
representing yet another host-manqué heteronym of
Baron Landscape (Broken Hours' prime-mover-in-name),
receives copious name-checking, or "shout outs."
However, unaccompanied by visual cues for the imagination,
he/she/it comes across as vaguely sinister or as an idle figurehead at best.

The resulting argument is alternately melodious and cacaphonic,
poignant and deranged, ever-shifting through challenges to reality,
caricatures of psychoses and exhortations of festering and decay.
The presence of perhaps too many sudden and inarticulate tempo and key changes
contrasts not only with the laborious craftmanship heard in details
such as the mirroring of Steve Winwood's organ lead from the "Low Sparks" coda
by the digitally reticulated final syllable of the sung "charcuterie,"
but also with the parodic symphonic structure of the work as a whole.
With time to spare it finally attempts to subvert
the process of verification and its role in the establishment of generalization,
proffering then withdrawing its proof on a whim.

Production concluded on August 18
after approximately 25 hours of editing 5 audio tracks and 3 midi tracks
in Sony Acid Pro 6.0 at a 16-bit sampling rate using Windows XP.

It is suggested that the piece be listened to at a loud volume,
either alone with headphones in the evening out of doors,
or with one or more close friends in a well-lit room
equipped with a superior sound system.