but, well, Here is a lovely recording
what struck me most about it is the drums. They can particularly be heard around the final Amen, but there's somewhat more.
Here's another I just can't get out of my head at the moment
I blame Robert Reilly.
Over the summer, I was contemplating an arrangement of things like the following: start with a special square
A & \to & B \\
\downarrow & \ulcorner & \downarrow \\
C & \to & P
There is then some delightful nonsense which guarantees the following special squares
& E & \to & F & \to & *\\
& \downarrow & \lrcorner & \downarrow & \lrcorner & \downarrow \\
& A & \to & B & \to & P \\
E & \to & G & \to & * \\
\downarrow & \lrcorner & \downarrow & \lrcorner & \downarrow \\
A & \to & C & \to & P \\
& & & E & \to & F \\
& & & \downarrow & \ulcorner & \downarrow \\
& & & G & \to & *
That last one is the really-special one, because of where the $*$ sits in it. It makes $E$ rather simpler than it otherwise might have been... But that's a story for another day.