I say it every time, but: every album has its own style that emerges on its own. It can become a matter of conscious choice — but first I have to notice it already happening.
This one has a bunch of loops and drones and noises sampled separately and then incorporated either into the improvisation while recording, or mixed in during the editing phase — and I am keeping them and reusing them in subsequent tracks. I’ve also been overlaying unwanted noise with more desirable, cooler noises. Overall it lends a certain kind of continuity. There’s also a continuity in tempo, because the length of one loop determined the LFO time to drive it in Bitwig Grid, from which I derived triggers to clock 0-Ctrl, and then captured a loop from that and used it to drive an envelope follower to filter some noise, which became another loop… so without the explicit “everything is X BPM” rule I followed for Pulse Code I still have a steady rhythm. My plan for the next track is to simply have a drone that I solo over and keep it simple — but I may use that same tempo as either an inaudible guide, or the basis of some modulation, just to keep it going.
Aside from set of related beats from 0-Ctrl modulating Synchrodyne, there was a brief improv in OPS7 which became a sort of shifting chordal drone, a sustained note on the bass with an EBow, Strega feeding back through Peradam, and some bits sampled out of finished takes and then pitch shifted. It’s not like any of this is completely new to me, but the way I’ve been approaching it, and saving the pieces for later re-use, has sort of become a “thing.”