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credits

released 24 March 2010

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Track Name: Desked
A boredom enforcement officer is tired of his cubicle and slumps in the corner. He hears droids chattering, sleepily smiles at the starfield unfolding behind his coffee cup, and maybe a better job opportunity calling during the recession. Reading self-help books leaks inspiration all over his worldview. Even the cleaning robots can't rouse him from this slumber, oh my!
Track Name: Magic Hours
It's either 3 or 4 AM, I forget now. But it's like, you're in the subway and you see these imposing figures that look like ninja-butchers. They walk on by and you've just quit smoking cold turkey, so your nerves are fired up and frazzled. Check out how things change by 2:05. The bass drop is a sly nod to both Eno via Apollo and Sakamoto via "The Beach". I love that noodly fretless and you should too; more ambient deserves rich, warm, sub tones.
Track Name: Satura
I saturated channels to give a rich, pulsating sound, hence the name. Subtle layers that can barely be heard but nevertheless have an effect are homeopathic, only true. Sometimes I like descending melodies in thirds, they have an open strength with intimacy. Trivia: the crackle at 1:48 and elsewhere was a limitation of a demo-version synth I used but I worked it in anyway. If you can tell me which one, you're rather observant. Sometimes you have to open your windows and record the birds singing… I mean that figuratively. (The ending is Vangelistic.)
Track Name: Vanishing Playground
I saturated channels to give a rich, pulsating sound, hence the name. Subtle layers that can barely be heard but nevertheless have an effect are homeopathic, only true. Sometimes I like descending melodies in thirds, they have an open strength with intimacy. Trivia: the crackle at 1:48 and elsewhere was a limitation of a demo-version synth I used but I worked it in anyway. If you can tell me which one, you're rather observant. Sometimes you have to open your windows and record the birds singing… I mean that figuratively. (The ending is Vangelistic.)
Track Name: Otoro
There're these sushi places we go that always play the same music. If I had it my way, they'd be all cyberpunked out and the chef would be a cyborg who'd been through offworld battles. Why not? What's neat here is this track contains several repeating motifs that are staggered against each other so they feel less repetitive in a Reichian (Steve, not Hitler) way. I took sounds of chopping food on a board, wove them into a rhythm, and graced by shakuhachi, am hopeful I'll someday dine to this.
Track Name: Sound of Spaces
If you like my solo piano stuff but yearn for glitchy growth, this is for you! Sometime ago when I was turned on by the Noto-Sakamoto alliance, I've been namedropping them ever since. Here, I felt a vibe like Eno's Music for Airports, but I wanted to take those tonalities and instead of a piano loop, dance them further and cut pieces into micro-rhythms. There's oodles of subtlety and it's amazing how much mileage you can get out of simply reversing a second-long snippet and bathing it in a reverb wash.
Track Name: Looseleaf
More piano, but different piano. The name refers to me literally shuffling paper and sampling that. It's gorgeously lowercase, and at times, I wasn't sure whether to remove background noises or leave them in. For the most part, they're included because here's the part where I SEE A NEAR-FUTURE CAMPUS WHERE STUDENTS ARE BEING DILLIGENT under warm lighting and the omnipresence of airscreen workstations.
Track Name: Voxin
A simple idea we had to rehearse. I had my wife sing a 7-note sequence. She wanted me to edit her breaths out but they're essential to the understated rhythm of the work. I couched her vocals in some synths and envisioned a floating space cathedral where the distant descendants of Zen monks would contemplate the nature of multiple realities while formulating poison. (Vox + toxin… I'm such a sucker for portmanteaus.) Listen to this with candles + scents.