Paris, France
Evening of Friday 16 July,1926

In the ramshackle garret workshop of amateur alchemist Étienne Rousseau's abode at 5 Rue de l'Esotérisme a séance unfolded with an unexpected turn, revealing an extraordinary apparition. Witnesses report a manifestation of the esteemed composer Erik Satie seated at a rustic upright piano, his fingers moving across the keys with a haunting grace and thereby music being summoned forth.

Amidst an atmosphere thick with astonishment and no small measure of apprehension, Rousseau quickly employed the incipient mechanical contrivances of our day in an attempt to document this extraordinary occurrence. Phonographic cylinders were meticulously set in motion, capturing the enigmatic melodies that emanated from the piano.

Witnesses will attest to the sense of awe that permeated the room as Monsieur Satie's eidolic presence conjured melodies that transcended the boundaries of the material world. His music, though unearthly in nature, resonated with a profound emotional depth, stirring the souls of those in attendance and evoking communion with the spirit realm.

As the recital reached its zenith, the onlookers were astounded when the apparition of Satie, with an otherworldly solemnity, inscribed a message on a slate board before evaporating like pollen dancing through a sunbeam on a morning breeze. The cryptic words, rendered in unsteady French script, read "Toutes Les Villes Sont Inachevées." The significance of this enigmatic phrase remains a subject of intense speculation.

While skeptics will undoubtedly scoff at such claims, the meticulous documentation of this séance offers compelling evidence of the existence of paranormal phenomena. Indeed, this fortuitous convergence of spiritualism and technology serves as a demonstration of the march of human curiosity and the quest for understanding beyond the confines of our tangible world.

Blackwood, E. (1926, August). "Unveiling the Chimeric Recital of Erik Satie." Spiritualism Journal, 15(8), 45-47.