The
Back Room

1. 01

   Ego Eimi

   Instrumental. A continuous rising Shepard drone beneath the whole composition, never stopping and never resolving. Octave suspensions with slight pitch drift over it — no scale, no tonal center. Percussion placed off‑grid in free time. Rubato throughout.

2. 02

   Disorder

   Experimental rock suite, erratic and fractured. Mixed 6/8 and 9/8. Tritone riffs, gated snares with reverse tails, saxophone multiphonics and shrieks over sub‑bass drones tuned to D and A. Intensity sustained throughout, no relief. A final gated snare ends the piece abruptly.

3. 03

   Goddess

   Math‑rock in D minor at 180 BPM, 17/8 grouped 5+5+7. Two‑handed tapping in wide stereo, overblown electric flute and Putatara motifs, metric modulation across odd‑grouped fills. Presto agitato — angular riffs, sudden stops, explosive accents.

4. 04

   Constellation

   D Dorian in 17/16, subdivided 3+3+3+3+3+2, with the echo synced to the meter. Nylon string as the primary engine — rapid arpeggios, two‑hand tapping, rasgueado accents. Bass flute counter‑melody, crystalline xylophone, restless polyrhythmic tom work. Cinematic math‑rock, futurist noir.

5. 05

   Peckers

   15/8, presto agitato. A surreal barnyard performed by cosmic chickens — detuned steel guitar, formant‑shifted rooster synths, D‑Phrygian colors and unsettling shifts. Nothing smooth: everything jittery, ritualistic, slightly wrong. Comedic in a dark and uncanny register.

6. 06

   Tau

   24/16. Circles completing and respawning exponentially, each birth marked by accelerating gated snares, deep toms and resonant sub‑kicks. Spiral panning throws every strike upward into a dome of echoes. Recursive structure — each cycle doubles in intensity, the tempo subtly accelerating.

“I am,” asserted continuously, from no fixed position.