I wrote this song immediately after I wrote “Forgotten Dreams,” and together, they form book ends for the album (and actually play nicely into each other if you play the album again after "Forgotten Dreams" ends). The beginning is one of many moments on the album with no set tempo. The project bpm floats around a lot until the beat finally comes in, before melting away again at the end. To me, this song feels like beams of light and unexplainable bliss.
This was the oldest demo I wrote that ended up on the album. I wrote this song some time in 2016 and held on to it, because I knew I wanted it on my album. Revised the mix and some elements of it in 2018, but the original demo was a staple in my sets since the Visions Tour era.
In the live show, this song’s vocals play with an RPG style dialogue box featuring a many-faced character and lyrics in a mysterious language. I don’t want to say too much beyond that.
"Understanding the Possibility"
While writing this song, I started to understand the way I wanted the album to sound as a whole and how the songs would speak to one another. It was sort of (a) proof of concept for the sound world that became the setting for many of the other songs on the album, like "222/Unknowable," "Forgotten Dreams," etc.
"Soundtrack to the Machine"
This one had the working title “confusion." I don’t know how to describe this song at all, but it is one of my favorites to play live. Definitely the cheekiest and least serious song on the album, which is something I love about it.
"Everything All At Once"
This is one of my favorite moments on the record, personally, and one of the only songs I’ve successfully written on a plane. The entire chord progression and vocal layer came together on a flight, and I added the acid synth, piano, shimmering sounds, etc., later in my studio. Hopefully, one day, I’ll be able to play this on piano.
"In Your Head"
I have a special place in my heart for text to speech vocals. They feel like the sound of my childhood or something. I remember typing pages and pages of words or just random characters into text documents on my first computer and telling my old mac to read it to me. The end is one of my favorite moments. Totally raw, speaker-ripping noise.
This song came together in about three days and was originally significantly shorter (particularly the middle section with no drums), but I kept thinking “no, this can’t feel rushed, we should linger on this moment for as long as the song wants to be here." Ultimately, it turned out to be one of my favorite songs I’ve written and plays seamlessly into “That Look In Your Eye.”
"That Look In Your Eye"
I have rarely written music with vocals as a primary focus, but with this song, I built the whole structure around this vocal lead. The ending was one of the most time-consuming parts of the record to get right. The ending vocal “climax” strays from the tempo of the rest of the song, and I spent countless hours trying to figure out exactly how long each note should hold, how bright and loud to make each element, etc.
"Iridescent Leaves Floating Downstream"
This song is named after a spontaneous vision I once had during a difficult time in my life a few years ago. I don’t really want to say too much about the experience, but it was an intensely life affirming and reassuring moment that I will never forget. This song is dedicated to that moment and feeling.
To me, this song feels like a dream, and the feeling of almost being able to grasp some abstract idea or vision, but it feeling like sand slipping through my fingers. The finale is one of my favorite moments on the record.