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This is the first album I ever completed as a total work. I had made about ten tracks using Guitar Pro 4, arranging midi instruments on a screen using staves and notation, and bouncing them out to single wav files which I would then add effects in Adobe Audition 1.5. This was my first taste for production, which would eventually become a love for endless hours staring at a screen altering minute changes. It's really quite difficult to explain but I am trying to do so. I was studying music at the time, so I was drawn to the composing and notating of ideas, but I was hoping to move into the more chance based methods of composing. I began living with Daniel Portelli in Chippendale in the city, and we begun our forays into indeterminate composition, as well as our first introductions to improvisation. I recall at this time Dan and I going to one gig at Lan Franchi's, and seeing Ray Ahn play in a very different context to his usual Hard Ons bass playing. I also recall Robbie Avenaim performing with machines alongside Dale Gorfinkel, who'd turned a Vibraphone into an auditory compendium. It was all very new and exciting. Dan and I were total underdogs and new in town, me relocating from Nowra via Wollongong via Kingswood, near Penrith, and himself from St Clair. All the live music performance was exhilarating, and on top of this bedroom production was also a creative well of endless possibilities. Furthermore, I began studying my last year with my mentor Caleb Kelly. He introduced me to Merzbow, Autechre, Otomo Yoshihide, Christian Marclay, Oval, and new methods of composing, decontructing, and most importantly listening. On top of this was meeting my first weed dealer, P.F.D, the person who introduced me to Warp Visions, a most intense visual musical experience. This British record label Warp became the model for what would become Etch_music.

Adding all these life factors together, I arrived at this strange, dreamy, minimal, almost new age album. It's still too tense and excited to be considered new age. But I feel its ambient presence makes it subdued, relaxed. Perhaps one of the ironies of the genre "ambient-glitch" is that it a dichotomy of something peaceful and something agitated. It's also very focused, which I relate to the use of Just Intonation fifth and fourth chords. The tones resonate in a more stagnant way. The (lull) title would become a starting point for a conceptual creative mark that would last up until my mixtape LÜLL.

So the first track, Monologue Ovsurd, is referencing Camus' reflection on the absurd, a state of no words, a discomfort that comes from not being able to express oneself. This is almost directly Oval inspired, as you can hear from the loop that happens halfway through the track. Plateaunese Urban Plan is inspired by Yuta Matsumura, and his dreams to live on a plateau in St Peters. The only way we could communicate and converse these ideas to each other was to speak in a language of glossolalia. It's a track about placating worries for a simpler outer-urban nomadic lifestyle. Mescaliens is a track written with David Suv, who had an experience with his ex-girlfriend Sarah, where they took a double dose of Mescal and heard an omnipresent buzzing in their ears for about twelve hours. He helped me compose the poetry which I converted to raw data and then audio using Audition 1.5. IDHA, Industrialisation Didn't Hurt Anyone, is a reflection on the end of lineages and generational knowledge and love. The beat splits rhythmically in phase like cracks in the dry land. Lull is a throwback to the Futurists, a simple digital cut and splice composition. As outlined in their various manifestos, their warfare only led to civil destruction or patriarchal impotence. My comedic interpretation of this is a sonic battlefield. Moon Dreaming is for the peoples who stood on the Australian desert before it was Australia. It represents their authority as dreamers, and the power that lies in the land after twilight. The track sounds like insects strewn across a wide open plain on a summer night. Finally Skip is a track made of both compact disc and cassette technology made to malfunction. Drawing glitch from erroneous technology, and transforming its qualities into something coherently and accurately constructed.

The original CDR copies I gave out had a drawing of a person sleeping on the front cover. It was my attempt at trying to suggest something peaceful. When I gave a copy to Kirin Callinan he informed me that it made him go to sleep, as he had listened to it at night. I'm convinced it wasn't a diss. So I guess as a whole album it's either a bore, or, it can be listened to in the night hours to lull you into slumber. Even if it was Kirin I'm ok with that. Today I can listen to it at any time of the day/night.

Aemon