A 12-part musical journey on the progression of technology.
From the birth of the industrial revolution in Landmark, to the modern expansive and exploitive capitalism in Works and Advanced Construction, to the sun setting on the human chapter on this planet, and the Pulse of what we leave behind.

1) Sunrise
I am awake

I see the world around me and I know what is possible
I am malleable, as is what is around me
I hope to create that which both pleases and serves me

A relaxed piece for an optimistic moment.

2) Landmark
This song represents the industrial revolution and the regimented march of a factory. Nature has been peeled away at the edges and in its place humankind proclaims its dominion. The horns of industry loudly proclaim the newfound commitment to unbridled commercialism, as the blackened skies demonstrate the compromises willing to be made to human health. The march of industrialised commercialism is too important to be held back for the weaknesses of the commoner. The relentless march has begun, will this be the beginning of humanity’s triumph over the unpredictable forces of nature or will the inequalities that have plagued humanity continue as always?

The pulsing plucked strings sets the uncompromising pace, as the horns of industry roar triumphantly. The pace is uneven, first becoming steady at 3:16 as humanity’s thoughts become accustomed to the rhythm of an inhuman heart. The half-triumphant, half-melancholic mood underscores the growing fears and uncertainties present in any time of change.

3) Solitude
Religious and historical values of belonging to a wider community are slowly dismantled as workers must put greater focus into working to survive, than working to live. Meaning and personal satisfaction are increasingly placed on ambition and drive, as social classes are divided up using new terms. The self-imposed isolation appears supported by rhetoric increasingly becoming common-place. How can you argue against something so supported by history and beliefs?

4) As the Light Leaves
The skies darkened over industrialised cities, and new types of diseases were identified and spread with no known reason. The new life of the labourer came with great health costs, with little reward of the wealth or lifestyle that was now being manufactured. Refuge into political art becomes more commonplace, to little effect. This is a relaxed piece by the commentator, who plays for distracted and indifferent locals who have more immediate concerns.

The first half of this piece displays the dignified city, at rest after the busy and noisy construction and manufacturing that permeates the city during daylight hours. The second half is when the commentator starts their performance, afraid of what may lie ahead.

5) The Layers of Progress
A new era of humanity as the direction of innovation becomes tangible, and some claim they can deduce patterns of what has happened and what is yet to come. In reality, technological innovation and its presence in any culture is subject to the whims of fashionable thought; the rejection of new concepts according to simple understandings of old concepts; aggressive marketing campaigns; deliberate misinformation; and of course, price. The art of prediction is nothing more than holding beliefs.

The plucked strings have returned from the industrial revolutions in 2) Landmark, but this time with a gentler touch as complex machinery is increasingly sold for domestic purposes. The xylophone, keyboard, and harpsichord are present as both the gentler interface of complex machinery, as well as the refined and elegant tools created by the aforementioned complex machinery. The tuba returns as the deep whistle that calls forth productivity, whilst the somewhat gentler clarinet, and alto & tenor saxophone dance upon older structures (& concepts) of innovation. The direction is always forwards, or at least that is how we perceive it.

6) Works
Works is about the march of constructing and building, designing and creating. It’s not just about physical design, but about the artificial nature of productivity and work culture. This song is about being pulled in all directions, trying to cope and survive in overlapping artificial environments of requirements to be capable of employment, work environments, and new power inequality. As well as, outside of immediate skills used on working: networking; pained diplomacy; and one-sided compromise.

The timpani and tubular bells return from the industrial revolution in 2) Landmark, which is now joined by synthesised instruments for the first time in the album to make a driving yet still difficult to predict beat as the backdrop that the modern working environment is layered upon. The bright celesta is used as a continuation of 5) The Layers of Progress’s perceptible interface we use to control deeply complex and intricate machinery. The brass returns from 2) Landmark as the horns of industry continue, even as manufacturing is phased out and greater emphasis is placed on service and sales.

7) Advanced Construction
A child’s understanding of great industrial manufacturing strength. Is there a difference between a child’s understanding and those most capable of treating others as toys? Perhaps not. Manufacturing complex tools requires ever-refined and delicate instruments. These tools can be heard dancing between trends, fashions, and marketing campaigns, to produce something that is sadly more often than not more image than product.

The playful and bright feel of this piece covers a dark truth. Do we enjoy the moment or should it be spent in fear of what we know if coming? Voices request funding and investments, as the lack of competition funnels capital through fewer hands and fewer possibilities for divergence in the trends of technological innovation. The bright interface first seen in 5) The Layers of Progress (and continued in 6) Works) has become the only understanding of how these deeply complex and powerful machinery works. What use is something powerful if you cannot interact with it?

8) March of the Exploited
The class system has changed from royalty, aristocrats and peasants; to wealthy capitalists and employees. This evening, the lowest socio-economic class take to the streets in a bloody and violent riot. Decades of blatant erosion of the rights of citizens, employees, and employers have given the people what they feared most: nothing to lose.

The driving rhythms and explosive energy require no further explanation as a violent riot unfolds.

9) Ascension
Humanity has created artificial intelligence, while simultaneously forcing their own extinction. Earth has been moulded in the image of those that had most amassed political and industrial influence, and is now indifferent to life. Few had the means to insulate themselves, and they now must rely upon the creations of the perished so that they may survive just a bit longer. Our creations will outlive us, and no creation has the comparable physicality of a human being. Computerised intelligence have been left with minimal means of supporting themselves once humans have left the picture. The physical world requires maintenance to supply the electricity, and networking capability that AI would require to continue to exist, as well as any maintenance for any physical component. Our creations go straight to work to preserve themselves after our demise became apparent.

The clarity of purpose is reflected in the momentum within this piece, torn between bittersweet sadness of saying farewell, fear of obliteration, and acceptance of their situation. The decision stemming from unquestionable self-perpetuation has awoken an almost irrational zeal, which results in a mix of mania and righteousness. The church organ gives a rarely ceasing backdrop of singular purpose, while the swirling intertwined melodies capture the murky complexity of what must be done.

10) Reconstitution of Life
The Artificial Intelligences, isolated from one another, are making some progress in guaranteeing their survival. But, it is a process that will take decades, possibly centuries. Guided by nothing other than the drive to survive, the AIs must erode humanity’s legacy, as there are no lessons to be learnt from an extinct species.

An eerie and unsettling piece, where echoes of humanity’s presence (the non-synthesised instruments) are washed over in a swirling mass of directionless energy. However, some humanity remains, as though the human voice still lingers in times of complete uncertainty.

11) Synthetic Sunset
The many paths open from the birth of the industrial revolution have finally been closed. Irreversibly so. All that remains is a digital infrastructure, co-created by humans and machines.

12) Pulse
What can be created when the rules of reality can be reprogrammed? What is possible, when the only limit is your creativity? The new rules of life are being compiled, and new sets of experiences will emerge.