Diary of a Plastic Box It can be said that the touring life of a musician is about as lonely a one as you can get... almost anyway. Stops, layovers, delays, often superficially enforced relationships, "endless" days off, most of which manifesting into what is, to me, an almost criminal waste of time. In the case of myself (sometimes if only to counteract the irresistible lure of a rapidly emtying, late-night hotel bar) I have attempted over the years, to put many of these wasted hours to some constructive good use, by perpetuating a steady and consistent parallel work flow in music of my own - the playing, improvisational, and compositional development from the keyboard side of my career. I would "set up" my own work space in many given situations in order to work : my hotel room, some dressing room space, even my own bunk on a travelling tour bus. The one and only tool throughout these years was my trusty travelling companion - a Korg M1 Workstation. Since it has been a long term goal of mine to make a keyboard album (and especially one in this way that is largely "impressionistic" and improvisational in its form), I have decided to edit together a selection of some of the results from various periods as if perhaps like a series of diary entries for a little "insight-ful" CD release. (I mention "insight-ful" as they are not typical or expected high precision studio quality in the terms, they are insight-ful in the way that they open a door into a very personal area of creativity for me.) The music's significance ?...to have simply documented time and place impressions where and whenever they came up. Certain weather conditions, a chance meeting, a solitary building, out of a conversation, even perhaps the weathered image or aura of an old person in the street somewhere. Significant again for me as it reveals much of my own experience, my whims and ideas for constructing music that hopefully EVOKES some real feeling and emotion for a listener. Prior to the minimum work of editing and enhancement Tristan and I have put in, the 'pieces" (for want of a better word") are necessarily short due to reasons of extremely limited on-board (the M1) memory capacity. They are all performed into a workstation without the use of quantisation and of course, are all of the "one" EQ/Effects settings as is standard in the sequencer mode. BUT... they hold certain essences I will not capture again. (the "demo" criteria). They will not for the most part be revamped for any future output compositionally, and they are turning to dust stood up on my shelf ! Leave them there ? ...NO ! Most demos "have something" and are notoriously often preferred in analysis by musicians but with these pieces because of the way (and why) they all came about, I now think of them as "one off" once only performances in themselves. To release them now ? ...why not. They're all from the heart. They still hold a certain, powerful imagery to me, and now in retrospect, I find myself quaintly fond of them all. I hope this album proves to be an enjoyable, maybe even evocative little journey, for you too. Sincerely in music, Gary Husband

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