recently I answered a call for output, I immediately took two days off, and intently focused on the work at hand. I didn't eat more than two meals a day and by the second and third day of my work I was operating on 4 to 5 hours of sleep and not feeling stretched at all. I was in touch with my inputs, the inside ones. when my work was done I seasoned it a bit with some echo, then set out at the task of soberly listening to each track, at the time I was not third-personing myself, I was only trying to eq the fattest tone, the mix was completed the disc burned and in the mail. then a listen, another. I see that it is not relevant from the muse's standpoint, what the quality of the work is or was, because a composition is it's own, therefore it stands alone, as it were, like a sculpture. Can it be changed? Yes, of course, but it is my responsibility as the creator of the piece to review and make changes after the creation.(in the case If this particular work I made several mixing adjustments, and three new tracks composed), when it is done, I feel like , well it's done, each new carving changes the sculpture, especially when you record analog, using analog instruments.

I am reading just now a book on among other things particle physics, and I realize that most modern pop criticism is akin to Newtonian physics ie: beneath the prolific detail of music in all its forms there lie systemic and rational laws that govern music in all its genres....my particle physics view of music is that there is not any "stuff" (or as Pete Townsend once put it 'we haven't got any quality, we just do something real big and a bunch of geezers go, ahh.'). No measurable quality by the old rule of thumb, in the particle physics of music what is =what happens, an unending dance of creation, annihilation and transformation run rampant within the conservation laws and probabilities of the instrument at hand. I have bandied about criticism of different genres, and recording techniques, but this latest work and it's circumstances, have made me look at my work in a new way, one of real critical necessity, but carefully not over dissecting the pieces, letting them stand like so many rocks in the foreground of a sonic landscape which i will continue to ramble.