Somewhere in Geneva, in a red-lit boudoir of sound, a four-headed, 428Hz-tuned, slightly-out-of-its-mind grand piano beast awakens. It murmurs, it moans, it rumbles - its tuning a little off, its temperament unpredictable, its resonance like a conversation between cosmic elders who haven’t quite decided whether to bless or bewilder their listeners. Welcome to "Beyondddddd The Notessssss", where Charlemagne Palestine and Seppe Gebruers turn piano playing into something closer to seismic activity, spiritual séance, or an elaborate joke played on linear time itself.

Let’s back up a moment. Charlemagne Palestine, the self-described maximalist (and possible reincarnation of a particularly mischievous church bell), has spent a lifetime turning drones into divine experiences. His co-conspirator, Seppe Gebruers, is a fearless jazz adventurer known for his quarter-tone explorations and a relentless curiosity that makes him the ideal sparring partner for such sonic lunacy. The two met through a shared love of unusual tunings and an absolute refusal to do things the easy way. At some point, a mutual obsession with pianos - four of them, to be precise - led them here: an improvised vortex of notes, dissonances, and overlapping tonalities that expand outward like ripples in time.

Live at Geneva’s Fonderie Kugler, Palestine and Gebruers wield their instruments like shamanic tools. Two Erard grand pianos are tuned a quarter-tone down, while two Yamahas hold onto conventional tuning, forming a hallucinatory microtonal playground where the listener is perpetually caught between harmonic worlds. It’s an experience that oscillates between hypnosis and chaos, with moments of overwhelming density and sudden, ghostly silences where the weight of resonance lingers in the air.

The three pieces here - "Gotcha I", "Gotcha II", and the aptly named "Beyondddddd The Notessssss" - aren’t compositions in any traditional sense. They are extended states of being, vibrating pools of liquid sound where repetition dissolves into perpetual mutation. Patterns form, but never quite settle; melodies emerge, only to be swallowed back into the swirling ether. If there is a logic to this music, it is one that operates in a language older than notation - something closer to the way wind moves through the trees or how cathedral bells, once set in motion, ring long after the striker has left.

At some point in the performance, the two pianists swap places, and for a brief moment, a silence settles - a silence so full, so inhabited, that it almost becomes the music itself. And perhaps that’s the secret here: "Beyondddddd The Notessssss" isn’t about what is played, but about what is suggested, what lingers, what teeters on the edge of perception before slipping away.

It’s wild. It’s perplexing. It’s absurdly beautiful. And, most importantly, it’s music that stretches beyond notes, beyond convention, and beyond predictability - into something that can only be felt.