The song, like everything else on this album, is an Ableton doodle from the time period when I just got back from college and was sort of doing some self-reflection and life planning. Sonically, it's just supposed to be evocative and psychedelic. I always want to make tracks that feel like driving somewhere – it takes you out of your limited view of the world as just your house, or just your town, and reminds you how big everything actually is. Humbling, or something, but not so looped-out and trippy that it doesn't feel real.

While I did this I was working in a Lowe's and doing a whole lot of cleaning and home improvement projects for family, which included a lot of mold sterilization in basements, bathrooms, and just areas that had gone a little iffy. So for a while I felt like my role was to fight the mold – an honorable charge, if you ask me. Thankless work, and anywhere there's moisture, it will return.

I also was playing a lot of Resident Evil at the time, so I was thinking about the "molded" enemies and those things kind of became an allegorical connection in my head. I actually distinctly remember, I was at the Lowe's and I observed a kiosk advertising some mold cleansing products, and that was the singular moment when all of these dots connected in my head. Felt like a very normal, down-to-earth way of arriving at a weirdly contrived artistic narrative about a basically Sisyphean task. There's probably something more general in there about how my life was feeling at the time, too, but I don't know if I quite have words from that. So that's where the name comes from.
The track is so short because I didn't want that soaring, melodic noodling to get old. It sounds very pretty to me but I didn't want to repeat it to the point of being annoying, lol.

Descent sets the tone for the the project. …it all felt so real is such an aural journey and it was imperative for us to have a firm first step. However, that step is that stair that you miscalculate by an inch, then you find your person, tumbling through an ethereal stereo-field of introspective texture.

In order to achieve the aforementioned the Moog Matriarch was predominantly used to write and record this track as well as most of the album. It was an exploration in multiple different patches and sound design as we wanted to achieve a rich, syrupy track to drown the listener not only aggressively, but progressively as well. We titrate the sonic elixir, steadily, to intensely intoxicate the audience, without making them overdose.

Rashida Prime's seminal Damaged Interface, was the frame of mind used to approach Descent. Immersive. Architectural. Vivid. The instruments each have a strong identity, but the way they interact with each other creates an organic evolution of the initial idea of the track.

Descent feels like a proper push down the rabbit hole of self. The depth and dimension of consciousness is felt, as the listener free falls into the introduction of this project. It's not delicate. It's a forceful shove. A very matter-of-fact move. Very intentional in its actions and convictions. There is nothing left but to see the journey through.