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 My Favorite Things, and countless other Coltrane records. A third and final critical influence was Thelonius Monk, whom I quote throughout the album his work has changed the way I interact with melody and piano technique more than any other artist (save maybe Bill Evans).

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 editing as well as reversed clips and a variety of augmented synth sounds. The motivation I had behind making a double album of this kind is the ideas of inhumanity and the invasions of technology in human life, which is connected thematically to this idea of a greater consciousness by our ability to transcend the flat plane of conscious for a more wholistic understanding of the mechanisms of our reality.

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