The Album Process began for me back in 2011, when I was navigating my way through a Marriage break up...I'd also lost my job and was dealing with some serious health issues.
To get through it all I would write songs whenever I could. I was recording with other long time cohorts, whilst collecting separate musical sketches for no other reason than it's what I do.

About a year ago Producer 'Myles Mumford' approached me with a view to produce recordings for me. I shared some of those sketches and ideas with him and we decide we should work together and this is how the album came about.

Without me realising at the time, a lot of ideas I'd been working on as songs dealt with, in one way or another, the idea of Medicine, Health, Cures and Disease. But many an idea/concept/story has ambushed me in the current process and tried to hijack the whole thing; Dystopian Future Visions, Totem Worship, the current national psyche... Some have succeeded, some have not.

This is essentially the first "Solo Album" I have ever really worked on. It represents where I am at right now in this stage of my long musical career. 
Working with Myles has facilitated the necessary freedom for me to create and develop ideas and sketches that would have normally been abandoned or forgotten.
The results are proving to be, I believe, the most stimulating and interesting ideas of my career.
Now that the album is almost done, I am going to let the actual thing tell the story.

But for the story to be told, we need the funds; this is where we invite you to enter the narrative...

Music Production:
Myles has worked tirelessly, creatively and honestly in good faith to help me realise my vision. Like me, Myles is a person who’s livelihood is creating music. Several years ago I wrote an article for the Age in which I talked about how I believe the creators of music deserved to be paid for their work as much as anyone else in the music industry. It is therefore very important to me that Myles be remunerated for his work.

Art Work/Album Design:
I’ve always endeavoured to have the highest quality visual presentation of my Albums.
In 1998 I worked with Mushrooms Music’s art director Peter Barratt on the Antenna collaboration I did that year with Dave Faulkner. I instantly found Peter to be somebody that I had an affinity with and have employed him to do the covers for my 1999 album ‘Record’, all three Darling Downs covers and my 2002 acoustic album E(a)rnest.
I know with Peter I will only receive the highest quality work and am confident that the listener will have an enhanced and properly contextualised experience with his presentation - In very much the same way as all of my favourite albums, which each have the tactile and visual experience associated with their covers, have over the years given me so much pleasure as well as food for thought.

Mastering:
Getting the music out of my head and into the realm of the listener does not end with recording and mixing.
Songs on an album after having been mixed for optimum enhancement, then need to be placed into the context of the collection of material that they will appear in. This requires EQ-ing to make each track sit right and sequencing for optimum flow and effect.
The process can make or break an album and is as important as any other stage of the process.

The single biggest challenge facing me now is funding the album. I am embarking on this Pozible Campaign in order to raise the necessary funds to get this album out to you.

As I've worked on the making of this Record, I've made artworks with Lino and Potato Cuts, Cassette Tape mementos, Sketches, 'zines etc. It's what 's kept me busy and out of trouble whilst Myles has been doing his thing.

Some of it gives some clues, some of it doesn't- but it's all been fun. I've decided to put this stuff out there, along with a few extra options, as rewards and a show of my appreciation for helping to fund this Album.

Kim Salmon