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Undecipherable lyrics:
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We must unify.
We must upload our minds
to the more perfect state,
to the robotic state of mind.

We must unify.
It is time. It is time.
We must unify.
Unify. Unify.

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Channeling process:
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General note:
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Each layer of this piece was directed through the Strymon Big Sky reverb pedal, with varying levels of reverb applied. Indeed, one of the primary reasons for using this pedal for the moment, aside from the glorious reverb it provides, is double the number of my inputs from 1 to 2. Hoping to obtain a decent audio interface soon ... .

Also, multiple types of reverb available in this pedal were used in this piece. The parameters of each were also tweaked here and there as a part of the performance of each of the layers described below.

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General note:
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In the "Undeciphered Level[s]," not every layer, as described below, was yet present.

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First layer:
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I channeled these musical forms through a Behringer Crave, two Neutrons, the VC340, and two Akai Fires. In fact, having finally setup the latter two to be run simultaneously was what initiated this piece. This time, I joined them such that more percussion tracks would be available at one time, that is without having to perform the simple task of scrolling, for slightly increased degree of spontaneity.

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Second layer:
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I then channeled what, for the most part, lays down the bassline of this piece through the Crave as fed through the K-2, the latter being the final sonic output of this layer. On more than one occasion, however, the K-2 meanders up toward a more melodic output, even if only to return back down to the lower frequencies thereafter.

As such, this layer of K-2 output was further split into lower and higher frequencies in the post-production process, in order to treat each separately.

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Third layer:
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Then the Crave itself communicated the next layer, along with another layer of vocoded vocals through the VC340. The latter also gave rise to more synthetic strings and retro "human voice" sounds.

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Fourth layer:
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A single extra line of the bass drum of this piece traced the original performance of the same sound in the first layer to enhance its volume and perform the usual bass drum tasks, e.g. the ducking and pumping of other sounds. Of potential interest here is that, instead of ducking or pumping the bassline, the bass drum lifts its volume ever so slightly.

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Fifth layer:

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Another layer of percussion was added, using the same sounds as before, along with the same pattern outlines around which I improvised upon the Fires.  Simultaneously, I also used slices of the intro and outro vocoder audio as another instrument.



The extra layer of percussion was needed due to the way in which the first layer was recorded, that is, inseparably from the other audio recorded into the same audio track.  Both layers of percussion are heard, the first more quietly than this layer, providing nuance in the dynamics of the drum sounds.  Also, this last layer of percussion was fed through a few reverb and delay channels, already being used for other voices in this piece, to strengthen its bond with the rest of this piece, as well as inject further detail into the already rather elaborate rhythms.

The vocoder slices were treated as sounds to be heard, rather than words, at least primarily, with, every now and again, some words becoming more intelligible than otherwise.  As such, this performance, recorded in two separate, superimposed takes, also adds to the percussive sounds heard, but also to the interstitial sonic territory between synthesizers, drums, and vocals, thusly further blurring the distinctions between each of these categories of sound.