1) Pajarito - A slow pulse, occasionally out-of-time and phase. Like Harold Budd on Quaaludes. It's punctuated by murmuring piano, field recordings, and quiet electronic decoration. The ending piano part is short but makes it point fully before the pulse fades out. 2) Ornaments - A heavily delayed and arpeggiated piece with occasional electronic call-and-response sounds coming from all sides. Very pretty. 3) Holy Ghosts - Rich and grand, full of frantic synths and sounds. It eventually winds itself down to a calming conclusion. 4) Flow - More arpeggio pulses, low sounds, and electronic comings and goings. The piece becomes less busy as times going on as the listener is drawn into a greater state of meditation or concentration. 5) Chuck Bird - Looped strings, field recordings of birdsong, and single note rhythmic playing of keyboards combine for another meditative piece. The middle part seems to drift off, before coming back with more chiming keyboard. This song (and album) is dedicated to the late Chuck Bird, who passed away in late 2006. We were musical friends and he was a wonderful and generous guy. Chuck released my first recording on his own label, Bird Ornaments, out of Chicago, in 2001. 6) Normal - More slowed-down delayed piano with quiet glitch rhythm sounds and gentle bass. 7) That Was A Different Life - Over 15 minutes long, this is essentially an ambient suite in three sections. It opens with gorgeous, delayed-out droning keyboards and glitchy sounds. About 3 1/2 minutes in, the track shifts focus and becomes more fuzzy in the background with call-and-response delayed keys. The whole track, especially this section, is not meant to be listened to at a high volume. The prickly background should barely be on the surface when heard. At almost the 11 minute mark, it shifts into the final phase and the glitchy background fades. The pulsating sound becomes even more somber and textures more quiet before fading out at the end. This was originally three separate pieces, and at one point I had this mix of the three together and thought it worked perfectly. Later on, I split the three tracks apart, but it just didn't sound right even if I put all three sequentially on an album. There was something about how these three needed to be "together" to make a cohesive and complete piece of music, so I put them back together.