Despite having figuratively - with the essence on 'figure', being a drone makes a suite, a suite makes an EP, but also an album, and these definitions can become dovetailed - I have never official made a 'drone' LP. Until now. This is the first one, and clocks in at a modest 9 hours.

I couldn't do without algorithm processing that I've learned with Paulstretch, or to give the post processing program its full name, Paul's Extreme Sound Stretch. I first used this electronic program on my Muttley - Back To The Drawing Board 15 Minutes Of Fame Pt. 33 in January 2010 - find that mix still online at www.kapsil.net/muttley. There I was using little fragments of jungle breakdowns and their ambiences to build a collaged soundscape. With this record - simply titled 'Drone Works' to be as precise and plain as possible, the idea is to make the drones as dreamy and dissonant, but not at the same time, as possible at different intervals.

I apply different meanings to my words than some people, as well as concepts and idioms. Dissonance to me is like a Franz Kafkaesque mood, an unfinished story, an unresolved tension. This is a pivotal emotion in dream theory as well. Dream tending tends the dream, the dream comes undone, we start again. These ideas feed into my processing style here. There is a lot of processing used in the program - post the effecting of the software synths used and automation as such.

There are quiet sections - see 'The Fear Has No Balls' - contrasted by louder rising sections in the same track. There is stasis complimented by diffusion - the best example being 'No Reproach Requiem', which for me is compositionally the strongest track here. Everything works for what it is, but sometimes stronger tracks just make themselves heard.

Please don't pay me for any of this music. Buy me a beer or a glass of wine or discount something I'm interested in by all means - but as you'll see by the amount of wishful fundraising I've been trying to do here on my Bandcamp site, I don't intend to make money. The temptation to exploit revenue streams is always there, but I really don't want it. I am not a greedy musician. It would be nice to get by easier, but getting by and providing for my family in as solvent way as possible is all I care about. I say all this because this will be a landmark release for me, preparing to add at least a couple more drone works to this collection.

If you like what you hear and want more verbiage for what I think about drone and ambient as a whole, take a visit to the well-respected www.fluid-radio.co.uk website. I write there on a monthly basis and have over 165 articles on my interests and collection foci covered by those guys. They are good people, like the people at Bandcamp. Wire magazine advertises on their site still.

I've made this release a Longformacus release - my alias for works traditionally 10 minutes and over.