Resulting from complexity, the three conceptual projects that preceded Born to Be Wild were the toughest to complete. Initially, I approached the endeavor from the listener's perspective, or without true knowledge of how tough it would be to attempt to tie loose ends together within elongated song cycles.
Previously, I'd sit in seclusion to compose the songs, and follow up with rough demos and, eventually, fully produced recordings. For Defiance Science and Subversive Blues, I developed the tunes on stage, then brought them into the studio after tweaking their functional parts in live settings. The South Africa Tapes was even more intricate due to the difficulty in merging those narratives.
Although I generally consider myself a perfectionist (and even though many moments during the concept trilogy relied on improvisation), these exacting tendencies departed for Born to Be Wild. An honest attempt was made to incorporate the ear crunching production techniques heard on recordings by bands like the Black Keys and the Record Company - current alternative bands who can rightfully claim to exist, simultaneously, on the cutting edge and musical fringe. These sonics are laced with my singular musical style.
This time, I cite some inspirations openly. The 11-minute epic 'Space Train to Babylon' features a drum solo, and any well versed rock listener can point out where the instrument begins to sonically phase in a similar manner to 'Moby Dick' from Led Zeppelin's live album The Song Remains the Same.