Unlike the more static, modally-based harmony of some of my other ambient work (such as "The Great Swamp"), for this album I imagined a place where classical, romantic, and impressionistic harmonic motion was stretched out over time, drawing the listener into each chord as it, at first, lingered but then melted slowly and seamlessly into the next chord. In such a place, the overtones of each sound would be in a subtle but constant motion even as the chord changes were slow and meditative. To achieve this balance of slowly changing harmony with rapidly shifting harmonics, I decided to use unabashedly electronic sounds that, while sharing some of the qualities of acoustic strings, organ, brass, woodwinds, etc., were more malleable than their acoustic counterparts.