“In Filare I attempted to produce sustained music which at the same time would contain movement and harmonic richness. Recordings of instruments (organ, sitar, bouzouki, harmonium, etc.) in different environments and excerpts of classical music are processed through a long chain of channels which have slight time intervals inbetween them so as to produce small phase differences. The sound is then recorded in a recursive process, e.g. the result of each recording was used as a departure point, and so on. Through repeated processing certain frequencies/overtones would cancel each other out and others would accumulate, so that progressively there would be an emphasis on certain overtones that would “crystallize”. These results are then eventually equalized, layered and transposed in whole tones as well as on a microtonal scale, so as to produce frequency “clashing” and thereby the desired movement. It was intended to create a sound that would have depth on several layers, emotionally as well as acoustically, without wanting to emphasize any of them in an exaggerated manner.

It seems to me that a great part of the beauty of modern electronic/electroacoustic music lies in its balance between technical finesse/complexity and the emotional nuances/subtleties that can thereby be achieved. In this light I’d like to contribute this album as one aesthetic possibility to a large ocean of to-be explored musical/acoustical possibilities.”