These electronic tunes had a nice, long gestation period, and I'm pretty happy with the final results. I wanted to get away from the 'four-on-the-floor' house sort of beats that I used a lot on Psychedelic Anthropology and focus more on the 'sonic sculpture' concept that I had back with Electric Ocean. Of course, with a completely different set of instruments and recording equipment, this music is hopefully its own entity. Although several of these tracks were quick and painless, several of these tracks (especially the instrumental ones) were originally intended to be part of a collaboration and intentionally left half-finished. But after more than a year and a few shifts in perspective, I finished them up mostly with the help of my Juno 60 synthesizer.

The concept for this album originally involved Scott's (the other feller in Damaged Tape) exploration of Japan's Izu peninsula. Unfortunately, I didn't necessarily get around to finishing all the tracks that involved those ideas, plus the cover to Glaze of Cathexis' The Golden Konbanwa already sort of got that idea down visually. This means that Scott is far better equipped to talk about the conceptual nature of these recordings. Here's what he has to say:

Inspiration for this spoken word came from free-associative thoughts in quiet times of
the night and day, and the only necessity was to just listen and be receptive to
our innate intuition.

Of this I feel-
delving into the collective subconscious is like descending into a deep well within a well,
accessing information from those shimmering purple-black waters reflecting
the glints of diamond-chip stars endlessly beyond. In this journey of metamorphosis
and transcendence, the wisdom and insight gained belongs to all, as this wisdom
and insight, shrouded in profound, sacred mystery, is an innate and inseparable part of us.