“Mirage” was recorded solely on electric guitar. The whole song features massive amounts of delay and reverb, and focuses much more on digital effects than many of the other songs, although all the sounds were still produced, recorded and played by me myself and I alone. The song begins with notes played on the strings above the bridge, and then continues with the basic pattern maintained throughout the song, which is in alternating 13/8 and 11/8 time (separated into 5-3-5, 4-3-4). The delay for this section contains 96% feedback, so once a note is played, it will keep repeating until the delay is stopped. In a normal time signature, this effect would not be as effective, notes landing fairly regularly, but in 13/8-11/8 time it becomes rather cacophonic by the end. The main focus of the song is slightly heavier than the rest of the song, and features three different guitar parts. This entire section is repeated in reverse, making it especially eerie.
Through “Mirage” I was hoping to represent eeriness, demonstrating how we are so used to sound waves being “normal” and when they are reversed, they sound foreign. This song was influenced by the craze in the ’60’s of reversing records, and the “satanic” qualities associated with them. I wanted to show that music in reverse can be used as just another aspect of a song, and doesn’t need the bad reputation it has. I also wanted to show that even 7/8 and 5/4 can become normal after a time and that it is very easy to make your own time signatures. There is no rule to how many beats a measure must have, you can have 173/8 time or 57/2 time, it all depends upon you. This song began with the time signature; an alternating odd numbered time signature seemed so fascinating to me that I began developing a whole song around it. I chose the technique of pinching the guitar string because I loved the harmonics that could be produced with just one hand. After I had essentially recorded the song I decided to reverse the last section, giving it the extra element of the bizarre.