I worked with Pauline Lay on this album and there's a great story about how we met.
I had just gotten off work in time to make it to a show my friend Sam Farzin was at. I park and walk down the block toward the spot, Sam's outside chatting with some folks. He greets me with a smile and introduces me to the folks he's talking with. First is Pauline and he says, "This is Pauline, you two should play music together," Pauline and I smile at each other and Sam goes on to emphasize how definitely so it is that we should get together and play music. So Pauline and I nod at each other intoning "Alright, let's do it" and exchange phone numbers and emails. We got together, Sam was right, and we've been getting together ever since.
Normally when we play, Pauline plays violin (and plays the pedals the violin runs through) and I play a drum kit, but here on this recording Pauline plays her violin and pedals into 75 minutes of 97 different loops that I categorized, organized, and arranged into this 15 1/2 minute piece. Is it not beautiful?? I had a profound time listening through this material, over and over, finding arcs and nodes, placing bits here, pulling segments there. Really, just listening to the material and figuring out where it wanted to go.
From there I thought, well this has got to be an album, not just one 15 minute song, so I decided to sit in the end of it, and that lead to track 2.
Track 3 is to maintain the scientific aspect of this Album a Week project, the part where I conduct useful experiments. So track 3 is the same arrangement (mostly) as track 1 but each part converted to a midi organ. So there you go, if you were wondering what it sounded like if strange organs played track 1, I ran the experiment for you, here is the data.
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