The basic concept behind this album was: - produce an "eclectic heavy-duty electric fusion record"... which is something I've been wanting to do for quite a while. I took my time with the writing, playing, production, etc. ....totally planned out from the start.

For the most part this album represents a culmination of multi-instrument combination approaches. Not only did it take (arguably) a lot longer to come to fruition than many of the others, but it also employs more overall tones and approaches than in past releases. For example, getting my hands on a dedicated keyboard controller (in order to complete this record with some interesting synth, piano, rhoades, pads / tones from Ableton, etc.)....not to mention integrating my clean jazz guitar sounds alongside the digitized denizens, where it can occupy the same sonic space as a rhoades, for example. I should probably mention too...if you hear some harmonized distorted lead sounds, ...that's a polyphonic distortion, which itself can take the place of several instruments at once. Also, in several places during the keyboard solos I'm actively switching instruments or stacking sounds too....which I haven't done a lot of up until this point, like in "Stuck in the Future". Parallel futures, indeed.

Also, of great note, ....having made some additional connections this past year, LEGENDARY BASSIST Jimmy Haslip was gracious enough to guest on the record and his wonderful playing makes its appearance on the enigmatic ballad "Not the End of the World". Don't miss that one...with its dreamy faux-pedal steel solo (yes, that's just one guitar). I also got woodwind multi-instrumentalist Chris Dragotta to supply some Saxophone leads for various tracks, rounding out the album's tonal palette.

A lot of the songs are more of your standardized electric quartet / quintet -type offerings, but there are also some curveballs. For instance, the straight-ahead east coast jazz of "True Story" or the (dare I say) evocative classical fusion "funk" eastern European vaudeville of "Back in the Old Country"....these pieces are a bit unexpected (probably). I should also point out that there are no less than three ballads present, which is somewhat unusual for me. Moreover, you have the world music influence rising up, per the Latinized electric fusion of "Shroomtown Overlords" or the exotic beatplex of "Noir". Other tracks feature extended solos with exciting and eclectic heads. Every track tends to feature a keyboard polyphonic-type solo as well as a dedicated guitar solo too (and sometimes a drum solo as well...which is actually fingerdrumming, on a Yamaha FGDP controller). That's kind of my thing...

Anyway, sincerely hope you enjoy the album, thanks for stopping by, please become a follower on Bandcamp!