Every song features a primary rhythm which is not in 4/4 time. Throughout the CD, I use 3/4, 5/4, 6/8, 12/8, 7/8, 9/8, and alternating 13/8-11/8 time. Although this is anything but uniform, these varied time signatures give the album unity simply because they all develop something that the ears are not used to hearing. When they are first introduced, many of the rhythms may seem bizarre, but after listening for a while they begin to seem normal, and show that music doesn’t have to be in 4/4 to be comforting or normal.
The first song, "Sjalv" is in traditional 3/4 and 6/8 time. THis gives it the feeling of a waltz.
The next song, "Olm" is in 12/8 time. It's rhythm is based on a traditional 12/8 time. The traditional rhythm is 2-3-2-2-3, but I have modified it so that it fits better with the harp melody. It is now a rhthm of 3-2-2-2-3.
"Descending Waltz" is 6/4 time primarily, but then escends to 5/4, 4/4, 3/4, 2/4, and then disolves into just the melody.
"Oh Freddled Gruntbuggly" is in a simple 7/4 rhythm.
"Perplexity" is primarily in 5/4 time, but features a measure of 7/4 time every 4th measure.
"Mirage is in alternating 13/8 time and 11/8 time, that is every other measure is 13/8, and the measures in between are in 11/8. In the main section of the song, there are 3 overlaying guitar parts. The first guitar part is alternating D# and D, in a rhythm of 3-2-3-3-2-2-2-3-2-2. The other two guitars are in a rythm of 5-3-5-4-3-4, but make dischordant chords.
"Vicarious" is primarily in 5/4 time, but fetures a few interjecting 7/8, and 9/8 measures.