This album collects a number of works composed over many years, that might on the surface seem to have very little in common, but which are linked by a number of common factors. First is my tendency to work under less-than-ideal circumstances, as much out of choice as necessity. For some reason, I prefer to work with modest or awkward technical means, as opposed to seeking out state-of-the-art facilities. Over the years I've improved my home studio to a non-embarrassing level of capabilities, but part of my method seems to require less-than-perfect means. Whereas for many composers the electronic medium is a way of achieving a gleaming, pristine sonic perfection, my own inclination is to seek a kind of opposite. In that regard, I suspect most listeners can pronounce these works successful.
Each of the pieces included in this collection was composed as much to teach myself some technique or process, as out of any compositional impulse. 'Maps Without Grids' was written while I was teaching myself how to use the Finale notation program and exploring the Yamaha DX-7 synthesizer. 'Arcadia Landscape' was a "postcard" piece sent to friends in the north, while I was living in rural Florida. I had a multi-timbral synth and a cassette deck to work with. 'Landscape of Retrieval' was realized as I was teaching myself the audio workstation Logic. And the J.T
Fraser piece was a result of trying to understand some of the inner workings of one particular part of Logic and uses a single sample.
The initial activity was usually rooted in figuring something out, and over the course of that investigation, a work unfolded. All of these pieces are flawed or problematic in some way. As I was making each of these, I was always conscious of the fact that the realization was not ideal, and that they shared a lack of elegance, an awkwardness, which I now see as intrinsic. Over the course of my life in music, I've become more comfortable with that.
The music is arranged in chronological order, and represents a considerable chunk of time: 1992-2010. Each track has its own set of notes and artwork, which can be accessed by clicking on its individual link.