The fine-tuning of the modular system in full fusion with the guitar has been a process spanning nearly a year and two months. This deep integration now allows for the occasional replacement of certain modules—especially those with overlapping functions—so I can experiment with different textures and sonic directions. Once again, this approach—where the guitar becomes one with the modular rig—opens realms of sound that simply can’t be reached with conventional pedals or effects.

Swapping out some modules will allow for subtle variations, enabling each song to be performed with a sensitivity that stays true to the spirit of the original system, while embracing the nuance brought by new combinations. Musically, the foundation of several pieces lies in their minimalism: some are built around a single note, others around two. The Ritual Electronics Pointeuse module plays a crucial role here, creating a rhythmic pulse through its integrated logic system. This opens up a surprisingly fluid interplay with the Circle of Fifths when playing guitar, offering an expressive and versatile tonal palette.

What truly struck me during the recording of Ornaments is that each track was captured in just one take—something I can say honestly and with a bit of awe. The year-long process of infusion and refinement culminated in moments of deep clarity. Of course, there will be slight variations in live performance, but the lyrics are the heart of each piece—and they were all written before my journey to Vietnam. While I did compose other songs during that time, only Dragonfly Sky was released as a single—and it, too, will be played live.

A question I’ve been contemplating lately—without rushing the answer—is whether to expand my palette to include three notes, rather than just a tonic and a dominant. This evolution will come in due time, building on what’s already been established.

The opening track, Antidote, serves as a perfect introduction. The LFO plays a central role here. I was surprised to discover that increasing the Square output of the TSL module—specifically using the PWM output—creates a frequency variation on the filter that’s not too fast, while the Square output also generates trigger pulses for the Pointeuse. These subtle mechanics were integral to shaping the album’s unique flow.

Each track on Ornaments is highly introspective, in contrast to the single Dragonfly Sky, which points outward. That track encapsulates the imagery and emotion I carried back from Vietnam. And through this patient, internal discipline I cultivated, I’ve come to believe that these songs will continue to infuse and evolve. The lyrics are already etched in me—they flow automatically, as if they’ve always been there. It’s rare for me to experience this kind of full-text recall while singing—a phenomenon I hadn’t felt in over 15 years.

The next wave of creativity—the start of a new genesis—might feel like it’s arriving too quickly. But I’ve come to realize that leaving, traveling far, and immersing myself in real images and sensations is what truly allows authentic songs to be born.

This, then, is what can be said about the genesis and the outcome of Ornaments: it is 100% representative of what I sought to create—not by deliberate design, but through a process of indirect emergence. Because in truth, it was impossible to predict or control exactly what would happen. And yet, the result is completely, unmistakably there.

Zi