The old DemonstrationBootleg.com produces more questions than answers. Who is Opestein Aersethe? Who is "skins"?
More on "Lost" from John:
I love writing 12 tone. First of all, you have a gauranteed (more or less) inhexautably wonderful yet themetically consistent pitch and harmony vocabulary at your disposal. While I certainly appreciate intergral, or "total" serialism, I think dodecaphonic composition can be a vehicle for complete subjective expression realized in how you manipulate and play with your tone row. I wrote a couple of 12 tone pop songs a year or so back. Less Talk More Action and Lost. Most people who hear them agree it kind-of-works-out. They are STRICT as well. All harmonies are arrived at (in both of them) from carefull use of cambonitoriality. The first, the melody is spoken, and the second I sing different notes of the sonorities which arise from the composition. I'm not sure what the "12 tone" rules are about non-pitched percussion are-- but both have drum beats.
(from http://web.archive.org/web/200402140519 ... /JULY.html