At the end of recording the session which became 'The Wider Shame of Fail' my son came in to say something to me and, rather absent mindedly, I ran my fingers over the keyboard.

Later, when I listened back to the material, I was surprised at how coherent this off-the-cuff improvisation was, and it won it's place in the track.

In a long-held tradition of inversion, I put it at the front as the introduction.

However, as with previous albums, all the rest of the notes are played either by the volume or the pitch of the radio, and not by a human hand.

Both recording sessions were attempts to explore a heavier tone. I chose rock kits, and distorted guitars.

I had to lower the general volume of the instrument, but that meant I was able to increase the volume of the radio, which is why there is more of it in these tracks.

With 'Touring Shroud', you can tell it was recorded on a Sunday because there's so much religious programming in it!

Again, there is minimal editing, amounting to ten cuts from a 40 minute session for track one; 17 cuts from about the same in track two.

In editing, I was either creating space to allow things to be heard, or looking for places to put edited segments so that everything recorded at a particular time got used.

The tracks became the shrouds of their time. Time in passing; time which is past.

Temporal decay may be suspended for a while.