Recorded in the last days of May, 2015:

Most of these songs were intended to be used for the band I was in at the time, Foreign Lawns. As we were in constant flux with members coming and going, practices would regularly get rescheduled. In an attempt to be proactive, I'd drag my laptop and some mics down to our space on what would have been our practice days and recorded demos of the simple arrangements I had in my head, crudely coming up with a part for each instrument, just as a guide for everyone to listen to and take apart as they wished. In time I'd even started going in on the weekends to record some other ideas that likely wouldn't necessarily fit that band, but kept me busy, and ultimately became the other songs here.

As those demo recordings slowly got better, audio quality-wise, I sent a handful of them to my friend and former bandmate, Marty, who encouraged me to set aside a weekend to re-record them with him in his home studio, which I jumped at right away. It had been a fantasy of mine to write and record an album where I played all the instruments since I was a teenager, so I sent him the stems of what I'd done and he already had all the tracks set up and ready to play along with once I got there. What ensued were three full, full days of slowly tracking each instrument and being as particular as I could be about takes, while also accepting that I'd have to let plenty of imperfections slide here and there, or I'd never get through it. Marty's patience, determination, and confidence in me paid off, as I was struggling with some toward the end and would have been fine just scrapping whatever final two or so we were working on. Regardless, we were able to track every last song I'd written by that Sunday night, in time for a meal.

As the months went by, he kept checking in to see if I'd written lyrics and started demoing vocals or if I had anyone else in mind to do it. Honestly, I didn't plan that far ahead and was surprised that I'd made it through all the tracks, as is. I'm certainly not much of a lyricist or vocalist and the whole project sort of came together as a lark. But, at his suggestion, I gave it a shot myself and started writing at home. I came up with the titles here, many based on lyrics and melodies that were getting close to finished and others as placeholder concept ideas that I'd hoped to expand on.

In the meantime, Foreign Lawns had called it a day and I ended up glad that I'd recorded everything, just for good measure if nothing else, even though I initially felt conflicted about having gone ahead and recording some of the songs I'd intended to use for that band. I'd put a good dent into trying to continue working on finishing it myself, having recorded a good portion of vocals at home, but had also found myself joining several of my friends bands on a few different instruments, and had no time left to try working on singing and lyrics. Just not a role I'd ever taken on and I wasn't all that confident with it. It was a lot of work and the remaining 50% or so just wasn't happening. Then, conveniently enough, my computer crashed, and as you'd imagine, I hadn't considered backing anything up because everything was still a work in progress. All I was left with were memories of half finished ideas and a sea of disorganized papers full of words. So, I gave up on it for several years.

Fast forward a slight bit, and I was able to talk some friends into considering starting from scratch with the songs, giving them their own titles and co-vocaling it, and we'd come up with a collective name for it once it seemed necessary. Much love and appreciation to Tony Schwader (Holy Shit!, Truthdealer, Strange Matter) and Rachael Thompson (Iron Pizza, Tell Me, Pussy Collector) for the consideration and the work they put in. As it were though, the pandemic has hit us all pretty hard, and they recently decided it would be a relatively impossible task to find the time to get together and continue working on it. If there was seemingly no end in sight, it would be best to just hand it back my way. I'm genuinely thrilled that they wanted to do it in the first place and completely understood. Again, really grateful for their enthusiasm. This year has been hell and I love them both.

At any rate, here it is as a somewhat full length instrumental album. I didn't foresee including anything but the solo instrumental american primitive guitar type stuff I've been working on under this Vectors of Resonant Prescients moniker, but I've been sitting on this recording for over 5 years, and it seems like right now is right enough to finally just let go of it (and I suppose it's also instrumental so there's somewhat of an umbrella or theme there, at least). I've got an album's worth of acoustic songs I've been meaning to start recording, and I really need to get working on that before I forget how to play them. Who knows? It's possible that at some point, I'll finish this myself with vocals, or recruit someone else, but for now, who gives a shit? It's done enough.

Extra special thanks to Dan Agacki for co-writing the music to Roof Access and he, Quentin Black, Seth Kniffin, Eric Mayer and Milam Smith for fleshing out a lot of the ideas for some of these....... and Marty Defatte for the time, recording expertise, and guidance.

If you've read this far, you're an angel. Please enjoy with headphones or some nice speakers and feel free to leave harsh feedback or suggetions.

Love you tender,

Kevin

Oh, P.S. - One of these songs was supposed to be about Poltergeist III and how even though it doesn't make the most sense, it's a misunderstood gem. Lara Flynn Boyle, Tom Skerritt? It all essentially takes place in one building in a completely different city. How can you fuck with that? Come on!