“It sounds like most of it was made using early model synthesizers, and listening, it’s almost as if the last thirty-five years have not yet taken place. Which is kind of odd considering the contemporary notes at the beginning of this piece. But it’s also possibly the mood Wolfgang Merx was looking for.”
– Dukla Prague Away Kit
“I walked down to the ocean
after waking from a nightmare
no moon, no pale reflection
Black Mirror, Black Mirror
Shot by a security camera
you can’t watch your own image
and also look yourself in the eye
Black Mirror, Black Mirror, Black Mirror…”
– Arcade Fire: Black Mirror
“Sure there are ominous drones at times along with some instrumental distortion, but there are also some more light and airy moments. Sometimes the tunes are more melodic, sometimes more abstract (and sometimes both in the same song).”
– Albert E. Trapezoid
You might have guessed that the four cameras on the cover are a symbol for this album’s theme as well as it being my fourth. Thankfully Thomas Mathie had this great idea. The album’s title hints at Peter Gabriel’s fourth album which was named Security in the USA for “marketing reasons”.
I. Drone State – One single note turning into a siren-like drone in contrast to the quiet Barbarian-inspired piano song in between shows the ambiguity of the term drone, I guess. Originally both parts were two different, longer songs from the days of The Hard Drive.
II. Directions – There is a Miles Davis song with the same title and some of this track’s keyboard parts are inspired by Davis’ music. But the drum track was done first and was created by Tomas Dittmann, so this song actually is his work in a certain way. Again, the drum track was an idea for The Hard Drive. The keyboard tracks were recorded in January 2014.
III. Open Field – The frippy soundscape (the first part of this song) and the e-piano/Moog duet (the second part) were separate songs originally, again. I considered the second part of this song (named Re-Entry) to be the opening track of the album at first. Robert Fripp’s Frippertronics piece Urban Landscape is the major influence here.
IV. Ten Thirty – This song was already known before in many shorter and remixed versions but this is the original version I was working on since 2010 or 2011. Roger Palmeri added his guitar tracks back then, too. The final additions in 2014 were a few synth parts. The song grew over the years and was a candidate for one of the Drone Trilogy albums but it never made it because it wasn’t ready back then. And yes, the song title hints at the length of the song.
V. The Machine Disease – This song title came to my mind while I was once watching how almost everyone on the train commute was dully staring at their smartphones. The song itself began with the Moog arpeggio and two organ improvisations. The digital drum solo was added later on and the song was finished with yet another infamous Moog ribbon controller solo. No rockets were shot this time, though.
VI. Heavy Dekonstruktion – The introductory trio was inspired by King Crimson’s Entry Of The Crims and was an overdubbed improvisation. The second part of the song is some sort of instrumental interpretation of the Robert Fripp and Peter Gabriel song Exposure. Again, this is one of the older songs, shortly recorded after The Hard Drive’s The Last Days album in 2010, I think. It was released as a single in 2013 because I didn’t know where to put it until it found its Security home where the song did finally fit in.
VII. Volterra – This Italian town’s timeless summer scenery is what inspired this song: dust and pollen flying around, almost standing still in the air, the beautiful landscape itself and all of that. A glimpse of hope to me although I haven’t been there yet. Thanks to Sophia for capturing those moments and showing them to the rest of the world. Her photographs and the things we discussed actually triggered the realisation of Security. So thank you once more, Sophia!