Dragon-off is a personal instrumental music that links electronic (synthesizer programming) and live acoustic music using a layered acoustic weaving method that has instruments coming in one at a time and superimpose into a more complex and dense acoustic masse. In other words, Happily, I enjoy great pleasure and take much comfort in the much-appreciated collaboration of my musician friends and invited artists. For each piece, there is a different concept and direction in the way of composing the music and also the way of presenting it.
Even though Mystic Chris starts off with programmed techno rhythms and sustained guitar riffs, the piece builds its strength out of the free improvisation of a trumpet with a definite sense of urgency and, in the end, out of its capacity to enshroud a solitary and mystical improvisation in Arabic scales and vocal incantations.
Pianoctobre, with its guitar and string bass riffs, exudes the kind of ambiance typical of what one finds in secret agent movies. I also wanted the absence of melody and the highlighting of souped up electro-acoustic piano sounds (another throwback to my university days) to create a confused ambiance, which the clattering down of the piano achieves through surprisingly melodic chaos.
Barong,the piece featured at the beginning of the album, relies on multiple meditative voices (32) in a symbiotic relationship with the more rhythmic sounds of two didgeridoos (Australian aboriginal instrument) to create a trancelike progression. I snuck the plaintive electro-acoustic sound of a grating chair (a relic from my university days) into the introduction and then transposed it four octaves lower so as to make the usually inaudible high-pitch sounds perceptible to the human ear. Mandolins and electric guitars round off this melodic and rhythmic arrangement.