john osborn – process part 313 (epat90)
An electric pulse fires, my hand flicks and each beat I have already heard in my head moments before it plays. I can see my hands, but somehow they are not controlled by me and faces before me are distant shapes. I know I’m in a room, as I can hear the reverb of the sounds that I am concentrating on. This annoys me. They colour what I try to control. I am not really there, and even though I am concentrating on something that is time based, time does not exist at all. When I stop, I am acutely aware of my own pulse. I am aware that my body feels shaky and the conversations people engage in with me make no sense. I am still debriefing my mind from the moments of ecstasy caused by the layering of two records, the right two records, together. I still have never satisfied my mind in this debriefing. I want more. I want to understand and to understand, I need to push the skill level up and challenge the knowledge that I already have. I am a flow seeker. The flow is my master and also my mistress.
This is the area in my life that is the direct link to what state of mind I am in, my well being. The road has been long, born out of an intrinsic love for dance music and all its friends. Sometimes, nothing else matters. Sometimes, this is as frightening as much as it is exhilarating.
This is a short description of what I go through once the conditions are correct when playing records. Before watching MC’s speech I knew nothing about his theory on the creative flow. Naturally, I knew that I would ‘zone out’ or ‘get in the groove’, but I did not know about the key links between skills, challenges and how this can achieve a state of ‘flow’ and ultimately, how this state defines your mental well being. Money, fame or local attention are not factors that motivate me to do this. Love and happiness are.
Everything around me can and does inspire me to seek this state of mind. This recording was a long struggle to create and it took patience. A recent event in my life changed my perspective on things and, coincidentally, I could finally see the path I wanted to take. Then it happened. The technical method I chose was filled with the records I selected based on this experience. Once these conditions fell into place, I found the flow, for 90mins. EPAT90.
The mix was recorded onto a 90min Maxwell UR90 Cassette using my Yamaha tape deck. As the mix was recorded so was the sound of the room via a Tascam digital recorder. These separate recordings have been ‘spliced’ together in Logic. No edits to the mix have been made and all the hiss & crackle has been left. No track list, keeping it just like we used to record mixes back in ’95.