Sanctum is an experiment in multi-tracking and overdubbing with improvisational drone. The separate performance layers are informed by one another both during performance and mixing. This strategy presented a chance to experiment with stereo space and sonic "negative spaces" by utilizing a pseudo mid-side technique and applying the inversions to the recorded stereo tracks. This experiment was an attempt to develop an empty space in the center of the tracks throughout Sanctum.  

The sounds of Sanctum are produced with the same tools as Meditations. However, the recordings are taken in a live space for a more "true" version of the sonic experience. With the reflections of an acoustic space, the electronic drone performances take on different textures and patterns that are not accessible through direct recordings.
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The track, "U"  from Sanctum was featured twice at Lightworks 2016 in Grimsby, England.

Sanctum became a sort of innovation on my processes that were utilized in the prior collection, but it also began my fragmentation. Inverting the perception of the work to succeed as a recording rather than just the live performance let me experiment technically. Though the performative aspects remained interested in the same meditative therapies, Sanctum was really a return to drone and this aspect of my sound as it was developed after performing Nulla and releasing those more dissonant elements from myself momentarily. During this time is when I began reading Shaun McNiff’s Trust the Process: An Artist’s Guide to Letting Go and began applying his painting techniques to my own work. I should say, that McNiff is not the sole influence for viewing explorative sound as gestural painting. Artist jonathan b. andrew has been a collaborator in my process and a critical audience member on occasion, where we have explored the relation of sound and painted image. Repetition of motion in painting and sound started my thoughts on perpetual natures and how my experience with depression has persisted. As for the style of Sanctum, drone is now a core element to how I approach sound. Drone is the basis for my thoughts on the perpetual sound, where the idea of the perpetual can be achieved through repetition, so is it that the elongated and exhaustive sound of drone also embodies repetition. McNiff describes certain process oriented therapy methods in his writing with repeated brush strokes and allowing them to naturally change over time by letting go of rigid control of the repetition. Viewing drone as this repetitious process, listening to the undulation of individual tones became the drone process that I could lose myself in. Particularly at this moment for myself, I was dissecting McNiff’s approaches to letting go, where the release of control in this performance is beneficial for meditative practice. “Experienced creators understand that a person’s mental outlook has as much to do with the quality of expression as technical skill” (McNiff, 1998). It is clear that my expression is a combination of technical and mental expression. The inherent interest I possess in technology influences how I approach creation and expression.

References
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McNiff, S. (1998). Trust the Process: An Artist's Guide to Letting Go. Boston, MA: Shambhala.