If you haven't already decoded the 'title", it's a graphic illustration of the process used in getting this record onto Soundcloud: playing stringed instruments through effects and a crackly vintage tube amplifier, recording into my DAW with drum programming and microphones, adding analog synth, minimal editing, effects processing and, finally, the mix, which is ongoing until I move onto something new.
Being supported for making contributions to culture makes sense to me; buying copies of something that can be experienced for free doesn't. So if you choose to 'buy' a track or an album, I'll consider that koha (something like 'contribution' in Māor). You can still think of it as a cultural product that now belongs to you, if you're more comfortable with that idea.
I have always made audio files where I live. These de facto studios typically had unshielded power circuits (meaning: pips, buzzes and glitches on some of the recordings), and have been more or less open to environmental sounds - cicadas, tui, crickets, the anthropogenic sounds of communal dwelling, hammers and power tools, wailing babies, light aircraft and, since moving to the city - cars, municipal service vehicles, electric scooters, ringtones, helicopters, compressors, sirens, different wailing babies - the crosstalk of urban zones with its undulating polyrhythms,and amiable dissonances. As a bedroom producer, I welcome these random, and sometimes serendipitous, sonic collisions as an integral marker of time and place. Sometimes they augment a recording, sometimes they diminish it.
Instruments: Jansen Corsair vintage 6-string guitar made in Auckland (Aotearoa / New Zealand) sometime in the early to mid-60s; Fender Mustang bass; Suzuki mandolin (made in Japan in 1966); Arturia Analog Lab synths; various drum machines; AKG and Shure microphones.