Opium Stairway, named after a scene from the 1980's movie, "Jacob's Ladder," cuts the point down into the essence of what I tried to convey with Logos as a whole album. The melody was rearranged from an older song called Fohat I wrote back in 2002 for piano. It displays all the same instrumental characteristics of the other songs on the album, but introduces a very mystical and eerie quality that was meant to capture the listener and surround them with mystery. It stands for love, mystery, psychological fog, electricity, metaphysical manifestations of the supreme ineffable, and so much more. Such a simple song for such an awesome array of ideation is, to most of my critics/opponents, insubstantial. I say they are wrong and this minimalistic essence captured in Opium Stairway is exactly what is needed to present this array in the appropriate, emotional way.

The minimalistic approach of the entire album reflects my epiphany on minimalism in my work, both melodically and harmonically. In my arrangements on this album, less instruments were used and more time was spent on the intentional repetition of key audible expressions. This makes the intended human emotions circle around tension moments and was meant to induce a state of quick wonder that just might cause the listener to briefly "feel" what I felt in the universal consciousness - or shared biological capabilities that we have as humans to experience these imaginary expressions together - at that time.

I know that sounds very outlandish, but take the challenge (as some have done with Sorath and felt it): throw on some Bose around-ear headphones, turn off the lights, and close your eyes. Let the music play and capture whatever it is that you first feel or think about. These songs are meant for the individual, not the masses. I want the individual to experience this. It will never be the same, but the overall feelings that  you get might surprise you (depending on your receptivity and common ideals with me).