February, 2005

3pm 12th [8:32]
1pm 19th [6:46]
4pm 12th [2:51]
6pm 14th [10:00]
11am19th [7:48]
5pm 13th [2:51]
3pm 14th [12:47]

Rather than actually explaining the process again, I 'll just copy the liner notes from the record.

After the completion of my previous two releases, I decided to take a much-needed break from composition. The releases called on me to be a composer, performer, co-producer, mixer, adjuster, arranger, re-arranger and sometimes engineer. I micro managed every aspect of those albums and oftentimes ended up a power- hungry oaf with my hands in every cookie jar. When I started to feel interested in writing again, I decided to challenge myself to take a "hands-off" approach to the performances (inspired by Brian Eno's 'Discreet Music'). I have also always found the month of January to be reliant on patterns. Dressing patterns. Academic Patterns. Eating patterns. Resolutions to change patterns. And of course, being from Michigan, the dominating weather patterns.

It was with these issues in mind, that I created the general rule for composition on the record: the music would be pattern-based but with relationships that I could not alter or tweak once they had begun. In this rule, the music would either present itself as pleasing to me or not. No changes. No micro managing. To accomplish this task I used two gigantic looping mechanisms that allowed musical inputs to "repeat forever." As they would repeat themselves, they would occasionally change due to commands I inputted before the performance. These commands would be unrelated to the duration or style of the performance and thus brought varied results. Also, I could add new phrases into the looping patterns to create slight additions to the arrangement. However, my input was restricted to these controls and thus I listened to the final product as it was happening, choosing either to continue recording or stop the process. I recorded over 30 of these sound beds and you will find seven of the best and most sonically pleasing here on this recording. Enjoy these pieces for what they are: music meant to support rather than interfere.
- Mike Vasas, February 2005