Esteemed Patron,

The Album available here was written and recorded during the fall and winter (respectively) of the year 2011 by the four young men collectively known as The Drake Equation: Patrick Hammond Troester, who sang lead vocals and played keyboard; Cameron Dallas Ferranti, who played guitars and keyboard; Michael Xavier "Brownbear" Ross, who played bass; and Michael Milton Mast, who played drums; all four members contrubuted background vocals. It was recorded at Esoterrarium Studios in Wexford Pennsylvania with additional work completed at Post Hoc Studios in Edinboro, Pennsylvania. The Album was produced by Mr. Ferranti, with the engineering assistance of Mr. Troester. It will be printed with the help of Robert Angelo Jensen for release through his fine organization, Basement Transmissions Records. The Album's artwork is a product of the prodigious efforts of Mr. Ross.

The Drake Equation would also like to make special mention of nonmusical contributions from the following individuals: Morgan Ambros and Jesse Gordon Brace, who came forward to give the group a home after the authroities enforced local noise ordinances at Mr. Mast's residence; John Richard Ferranti Jr., proprietor of Esoterrarium Studios and an indespensable amateur authority on Pittsburgh pho establisments; The Empty Keg, for operating the finest drinking establishment in the state as well as providing regular mortal sustenance for our boys; The Lower Eastside Connection (and Keith August Golembiewski in particular) for supplemental equipment contributions and general camaraderie; and finally Mr. Spencer "Speedy Nubs" Nubowski for his vitality and personal fortitude, which is a continuing source of inspiration to us all.

I would like to leave you with a few thoughts on just exactly how you the listener fit into this great creative undertaking. In the course of most artistic ventures, the responsibility of the audience is easily and often overlooked. Please, for your own sake, keep in mind that this recording constitutes nothing more or less than what you interpret it to be. Despite the careful authorship and creative construction on the part of Misters Troester, Ferranti, Ross, and Mast, the moment these songs were first laid to track, our boys’ intellectual ownership of them became forfeit. Enter the central conundrum of literary interpretation: In the act of submitting a work before an audience, the author surrenders his supposed authority over its acceptation. True ownership, as well as the paramount devoir of construing any sort of subtextual meaning from said work is therefore transferred to that audience. I’d ask that you take this charge seriously, and appreciate the fact that, in your role as listener, you represent not the terminal point of the artistic process, but the potential for its indefinite continuation.

It is equally important however, that you not confuse the above philosophical musing for that so-called “creative commons” new-age drivel or anything resembling implied permission to use this work for your own petty financial gain. Share, spread, and propagate to your heart’s content, but remember that this work has in fact been registered with the United States Copyright Office (©2012), and unauthorized attempts to profit from its contents will be met with a firm legal bitch slap.


Cheers,

Dr. Horatio "Buzzkill" Johnson