The album is roughly divided into two halves, one side is influenced by more traditional modal jazz and fusion, specifically I was very influenced by artists like Mcoy Tyner and his project Sama Layuca, a brilliant psychedelic blend of fusion and Brazilian music, this work was also profoundly shaped by a Love Supreme, as well as my adoration of Maiden Voyage by Herbie Hancock. Listening to the compositions on the jazz side I can’t really seem to hear any of my influences, these 6 songs really are just what they are, and I feel myself relating to them less and less as a composer and more as a performer as time goes on. I think that speaks to the metaphysical nature of music and how we relate to it. A song is never the same on the second play, or the second performance.

The Electronic half of the album is much more experimental, on this project I dabbled with new recording and production techniques and its novelty is most clearly seen in this second half of the album. I utilize a lot of sampling during this section of the album, as well as a lot of digital percussion as well as reversed clips and a variety of augmented synth sounds. The general vibe is ambient, space-y, psychedelic, a very good accompaniment to the text. working on this project it feels to me as if the work has always existed. These sounds exist in the world and correctly assembled I believe they have an enormous amount of power. For the artist, as Huxley says, there is a pipeline to the Mind at Large, the collective movement of the universe, in which everything is united in an endlessly perfect pattern. I believe this is revealed through the act of artistic creation.

The concept of the album was drawn from the 1954 book The Doors of Perception by Adious Huxley and I use many of the themes from his book to influence the sonic landscape of the work