Praseodymium Deulineum Project Manifest:
Praseodymium Deulineum is my 23rd solo album; it is my rendition of a series of EDM or festival trap remixes (in this case, IDM trap) with stylistics similarly emulating caricatures of my earlier invented 'amphetamine trap;' the name is residual representation of life as an electronic artist - while this album contains mostly remixes (only two original tracks), a lot of my solo work (not including the three bands I'm a member in (totaling some 280-290 tracks at the present time) is original and sounds a lot different from this sound - it's all dependent on the genre - you throw your own genre modifications and stylistics into your work in the spirit of fuckgenre while still making something genre categorizable. It is indeed a hard life. All of the artists I've ever worked with have seen some fucked up shit, we've had adventures, misadventures, experiences, revelations, and each other. At this time, we are able to manipulate sound with more finesse and versatility than ever before, we take full advantage of this to appeal to the human experience and effect it in a multitude of ways. Our experience in this day and age is the modern reincarnation of composition. I truly believe Beethoven would be pleased with our work. I put the suffix of Pr. in front of my name to reflect this - in this case Pr - (Praseodymium, atomic #59) is built into the relation. The Pr. is like the Dr. In Doctor. It stands for Producer of art or sounds or patterns or what have you. It is the suffix I gave myself upon ego death.
This free 18 track album is 1 hour, 17 minutes, and 55 seconds long (about 78 minutes) which would max out the total length of on standard Audio CD. This entire album (with the exception of two tracks -(the two 'Trap Track 6' tracks)) was mastered at 192KHz, a 32 bit float sample size, and effectively, 12,288Kbs. This yielded the studio cut of the album to be almost exactly 6GB; The version available to the public (thus far, do to upload restraints) through Bandcamp has been lowered to 48Khz, a 32 bit float Sample Size, and then 3,072Kbps - (still audiophile friendly :) this version of the album in its totality is 1.65GB.

THE SOUND:
Interestingly enough, my mastering algorithms for this type of project emulate the frequency cancellation stratagem methodically utilized in the 1960's by the Beatles. Moreover, the overall sound of this project explores the transition of club music from melodically sound minor key happy hardcore to dissonant and syncopated post-dubstep and EDM/festival trap tritonic frequencies. Resultantly, this piece explores the possibility of using happy hardcore melodies alongside exceptionally complex trap percussion as well as experimenting with more dark and dissonant sounds of dark electro and aggrotech alongside similarly complex trap percussion. Altogether, I decided to experiment with several variegated genres: dubstep (brostep and post-dubstep), happy hardcore, hardstyle, dubstyle, house, techno, dark electro, aggrotech, experimental, IDM, and fuckgenre; all brought together under EDM/IDM (festival) trap remixing.

PERCUSSION:
Prior to this project, I cultivated my ideological approach for trappin' out - this exemplification manifested and was centrifugal to my 22nd album - "Grundrisse Revitalized II " (chronological solo album #22); although that particular genre - a variant of trap I invented called 'amphetamine trap' - was different from this project , the percussive motifs are similar as well as the unconventional remixing methodology. This approach aims to encapsulate a more club friendly approach while still appealing to the psychostimulatory aspects of precision based patterns exemplified by the harmonics between the various synths and melodic characteristics and the percussive elements.

INFLUENCES:
The cross genre representation of carious electronic artists through space and time is a relatively impressive showcase. One characteristic I tend to maintain in my variant of festival trap is making the master BPM the same as the track that's being remixed. The trap element therefore becomes dependent on the rhythm and syncopation of the percussion.
Artists represented in chronological representation:
-dj TAKA
- Pavelow
-Skrillex
-Ayumi Hamasaki
-Basshunter
-Headhunterz
-Mike Greene
- Datsik
-God Module
-The Medic Droid
- Trillo Gunter
-ATB
-Angel City
-Benny Benassi
- The Retrosic
- Flying Lotus
-Amon Tobin

Essentially, I was experimenting with the idea of mixing unlike sounds in a unified manner.