"Jason Ajemian & the HighLife stopped into Dave Matthew's studio in Scottsville, Virginia, (managed by a childhood friend of Ajemian's, Rob Evans) to record Ajemian's latest score. In keeping with the belief in immediacy and improvisation, the album was recorded in one take with no overdubs. The only exception is the opening text piece: a letter to Daddy read by Champagne, two characters who are simultaneously a presence in the ongoing story of the HighLife and actual band members. The text reveals the conclusion of Daddy's testimonial 'His Name on Records', in which his voice is delayed and panned. Every other sound on the album was captured in the moment. Working in the architectural drafting program AutoCAD, Ajemian creates scores that guide musicians through musical hallways. At times maze-like, they act as musical road maps of Ajemian's impressionistic burst of inspiration and musical thoughts that parallel his own travels. Mining music's availability (we can hear music from anywhere on the planet at this moment) and the idea that genres are more often simply a state of mind or feeling than a form. Contrary to defining boundaries, in Ajemian's blueprints the line work links musical worlds. Constellations of sound change in an instant, like passing thoughts or a shooting star that burns out in the sky. Ajemian innovates while embracing multiple genres without prejudice, representing the digital mechanisms and the information super-highway that teleport us from all over the world in a blink. Like the mind itself and it's capabilities in imagination; as well as, teleportation, Riding the Light Into the Birds Eye is a time lapse of the a day in a life of a time traveler. Jason Ajemian & the HighLife features a carefully structured approach to improvisations that is immediate and effortless, we are extremely excited to introduce this 3D Pop music."-New Atlantis