this long intro to the record was conceived utilising a looped phrase from a teen rock band played backward and filtered using digital lowpass filters on the akai z4, modulated in real time.
glitch section of the end was the result of passing the mix through a korg kp-3 and manipulating in real time. edits were done in logic.


1.  Speak With Me

this track starts with another intro which was composed primarily with a roland hs-60 analog synthesizer sequenced with an akai mpc500. various subliminals are peppered throughout and filtered using lowpass filters on an akai z4 sampler.
part 2 was constructed using many analog and digital synthesizers run in tandem, most notably, a yamaha sk-50d, a novation bass station, and native instruments razor. drums came from roland 808 and 909 machines layered and automated extensively, along with logic loops resampled and reprogrammed into the akai z4 sampler. the "drops" are chopped in with samples of my voice glitched severely with the korg kp-3.
the midsection features a spoken word interlude that was processed with six instances of lexicon reverb played backward.
subliminals that run throughout the song were filtered using stanton lowpass filters and played backward.


2.  Into The Tunnel 1&2

this track was initially composed utilizing a glitch occurrence that happened by accident on an ensoniq asr-10 sampler. various samples were randomly streamed into RAM from an external hard drive and form the rhythmic and sub bass skeleton of the track.
the melodic chords were composed using a sustained sample of a note culled from a sci-fi movie from the 60s. the progression was performed "live" using the "error track" as a timing reference.
a recording of my wife speaking in a large atrium was used as a sample source for the voice accents that creep up to accompany the melody.


3.  Shadows In The Other Room

this piece is a collusion of over 1000 samples generated and glitched utilizing an akai z4 digital sampler along with an mpc500, painstakingly edited with logic pro. hyper-distorted sub booms were created not using drum samples, but instead with a graphic equalizer put through a feedback loop, edited and manipulated in logic. speech for the second section of the song was manipulated with timestretch algorithms for atmospheric effect.


4.  StealthRock76

this piece starts with the last sample of "stealthrock76" run through a dp4 digital delay algorithm, which was then run through a peavey live mixing desk equipped with spring reverb to create the "fading down a dark hallway" effect. the signal is then fed back into itself to create the soft feedback before the drums start.
the first "hard" section was comprised of logic drums sampled into an akai z4 digital sampler and reprogrammed, along with several instances of a korg monotron played live then edited.
the second "hard" section was the result of a glitch experiment i conducted in 1999. i had dissembled a mattel synsonics drum machine and exposed the motherboard to see what could be done to create non-percussive sounds. at a loss, i decided to wipe a cloth soaked in isopropyl alcohol across all the circuits and recorded the resulting chaos with a sony minidisc recorder. I DO NOT RECOMMEND ANYONE TRY THIS. i was lucky NOT to have been electrocuted.
the third "hard" section was an orchestra of korg monotrons played on five or six tracks, compiled and edited severely. white noise forming the "rise" on the outtro was performed "live" on a moog synthesizer, processed in logic.


5.  My Number Is

this piece is an experiment utilising real drums, played by stevie nicole hulings (another artist on soundcloud). ambiences were electronically manipulated using timestretch processing and analog filtering. the gated lead synthesizer was a moog synthesizer electronically manipulated during the mixing process. the monster bass was created using two synthesizers: minikorg 700s run into a novation bass station rack for filtering. demon scream at the end was courtesy of friend, jeremy rake, and was recorded at a purportedly haunted nightclub in san antonio, texas.


6.  Inside The Snake

this is a chill out track i composed using my modular studio setup. the ambiences were electronically generated, then filtered using novation 24db filters. percussion was electronically manipulated in real time. subliminals are from various recorded voices culled from historical documents pertaining to psychedelic experiences. swarms of parrots forming the concluding atmosphere were recorded on location at sunrise.


misterf:::6:::