Peter White. Available NOWHERE . . . it’s for the best . . . you don’t want this . . . prolonged exposure to the music of Peter White may produce a reflective state of mind . . . run now you fool! Ctrl alt del! Ctrl alt del! Ctrl alt del! • Peter White. Don’t be fooled by cheap imitations . . . actually, all we have are cheap imitations, we live in “Roman” age after all . . . beauty has been broken forever by reflectivity. Oh well, at least the price of technology continues to go down . . . • WARNING! If the music on this website makes contact with your ears, flush immediately with soapy water and odd time signatures. • Peter White. I’m lovin’ it! But then again, what is it to love? Can you really love music as much as a cheeseburger? a french fry? a delicious carbonated beverage? Please, for once, let’s be serious. • Peter White. Take one song daily for relief of existential angst and nihilistic tendencies. For more effective results, dialectically interiorize each dosage. Do not exceed the recommended dosage of Peter White music unless you want more. May cause illusionary feelings of utopian happiness and/or dogsbody blackmood and/or indifference and/or pain on urination. Use this music without caution and never at the recommended time. • Peter White! Register now! Become identical with Peter White! Be as Peter White without side effects or consequences! Why settle for a sheep named Dolly when you could be . . . Peter White! Void where human beings exist. Do not register more than once. Actually, do not register. Really, there is no registry. It’s a joke. Look, just take off eh? • Blessed are those with good taste for they shall avoid this website completely. I mean, really, the peterwhitearchive is the lowest form of creative expression ever devised, full of musical half-truths and wholesale poetical lies! Anyone with a sliver of sense would have gone elsewhere by now. Why are you still here? Do you really want to expose your ears to this toxic cremation of history’s remains? I mean, 30 000 odd years of human consciousness to reach this? Do yourself a favor and click your BACK button into the safety of something, anything but the nefarious sounds that lurk in the peterwhitearchive. Save yourself! It’s not too late! • Accolade: Did you know that Peter White was named honourary musical ambassador to the planet Pluto just before it was demoted to an object? • Accolade: Peter White has twice been nominated “Songwriter of the Year”, by a group of small children and their pets. He lost out to a stuffed animal named “Colon Cleanse” but, for a moment, it was really close. • Accolade: Peter White was the 2006 Obscuranta Festival’s Grand Prize Winner, voted eight times in a row “Most Likely to Remain Obscure”. Obscuranta is an imaginary festival whose judges are known to be corrupt and whose participants are rumoured to be fish without scruples.
| Songs | Lyrics | |
| Nothing Is Everything | ||
| Wear Moccasins | ||
| Last Train Home | ||
| Honey | ||
| I Know A Girl | ||
| What If? | ||
| Salome | ||
| The Fates (Oswald Spengler) | ||
| Jello Time |
instrumental | |
| Talk |
| In a way all of the songs on "The Fates" are a conversation with the Muse, that 'something', usually pictured as a female, that causes artists to create. Read the opposite direction one could equally say that the songs are a conversation of the Muse with her only vehicle into reality, the merely human artist. In "Nothing Is Everything" the Muse spells herself out with perfect clarity as an impenetrable riddle. In "Wear Moccasins" her wisdom is sought in the form of the 'wise old man', for the song was inspired by a visit to Dan Pine who was then the last surviving grandson of the great Chief Shingwauk (1773 -1854), of the Ojibway band at Sault Ste. Marie, Ontario, Canada. Sitting at the head of a well used kitchen table the ninety-three year old one-armed, pencil-thin elder chain-smoked Player's no-filter cigarettes that he had me light for him. After a long time he leaned toward me and said with barely a whisper, "Wear moccasins in summertime.", a phrase as equally revealing and hidden as the lyrics of "Nothing Is Everything". |  | |
| The wisdom of the Muse cannot be gotten second hand -- too easy, too cheap. The next song, "Last Train Home", meanwhile, is as bold and clear a statement of the mutual feeling between artist and Muse, lover and lover, being and nothingness, as one could hope for. Then back to the impossible riddle as a playful dance in "Honey" and "I Know a Girl". In "What If" the painful separation of artist and Muse, (lover and lover, being and nothingness), made all the more intense by the moments of inspiration-connection, is played as a dance between voice and trumpet. In "Salome" she is inspiration as destruction as so many merely human artists and lovers and beings have lived out. Without self-awareness one risks losing their head... In "The Fates" we meet the Muse as the namesake of this collection of songs. In her singular form the Greeks named her Moira, "the personification of fate and necessity." When imagined as a trinity she was called the Moirae consisting of Clotho (the "spinner" who spun the thread of a person's life), Lachesis (who measured the length of the thread-life), and Atropos (who cut the thread). This is why the CD photo features three views of the one statue. In the song she keeps her paradoxical riddle nature while bringing in a new 'wise old man', a dead white European as opposed to a native American elder, the visionary scholar Oswald Spengler who ended his 1917 masterpiece The Decline of the West with the old Greek saying, "The fates guide he who will, he who won't they drag". The musical odyssey ends with "Talk", as if the Muse saying, "Enough words, sacrifice what must be sacrificed, make me real". What is it to make the Muse, love or nothingness "real" in 2004. Must one sacrifice one's life to art? One's lover to love? One's life to nothingness? Could it be that one must sacrifice the romantic idea of sacrifice to art, love and life in order to be what the Muse inspires one to sing about? A project in progress, "Psychopomp", explores the door opened here to greater depths. Until then, "The fates guide he who will... Top Shelf: Ron Belsito - alto and tenor saxophone / Mike Cote - congas / Rony DalCin - keyboards, background vocals / Marc Dubreuil - drums / Pete "Pluto" Goehring - trombone / Steve Ryan - trumpet / Martin Virta - bass / Malcolm White - guitar / Peter White - lead and background vocals, lead and rhythm guitar Cd cover sculpture, "Matin", by Michael Burtch Cd cover photography by Steve Lang Engineered/Produced by Peter White All songs by Peter White © 2002 except "Jello Time" by Rony DalCin © 2002 All rights reserved. |
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| Coke Oven Joe and Sue Ste. Marie  1990 |
Back Roads 1991 |
Right Now Is Forever 1995 |
The Fates 2002 |
Guitar Solos 2004 |
Right Now Is Forever 2006  2006 |
Logical Negativity 2007 |
Syzygy 2009 |
Copyright © 2004. All Rights Reserved.
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