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Married and divorced three times, he is survived by two sons, Satie and Sharron.

Early in the pandemic, he spun his “house concert” livestreams into a marathon of Satie’s “Vexations” that raised money for artist relief.

Melodies are simple and elegant, like those of Satie.

McDermott’s childhood memories are matched by naïvely excited music; the flotation tank, by a soporific étude; the simulated coma, by music so shapeless yet alluring that it could have been written by Satie.

The dialogue between Satie’s music and Clair’s film packed the uncanny thrill of a seance, not least of all because at one point Börlin comes back from the dead.