Reissue of this long sold-out cassette on Gift Tapes. Mind Over Mirrors is Jaime Fennelly, harmonium player and electronics builder, whose unique approach to sound manipulation has established him as one of the most compelling voices in contemporary experimental music. Before launching his solo project, Fennelly was a member of the junkfolk band Peeesseye and the psychedelic free jazz trio Acid Birds, experiences that inform his multifaceted approach to electronic sound sculpture. Fennelly created Mind Over Mirrors during his residency on an island in the Salish Sea in Washington State from 2007 to 2010, a period of geographical and creative isolation that profoundly shaped the project's aesthetic. This remote location provided both the physical space and psychological distance necessary for developing his distinctive approach to harmonium-based electronic music, resulting in compositions that feel both deeply personal and universally resonant.

Mind Over Mirrors' music is fundamentally about saturated sound. Fennelly plays his pump organ through a battery of oscillators and effects that extend and distort its tones to obtain in-the-red highs, chest-rattling mids, and low notes as bulbous and squeezable as a slightly underinflated inner tube. This technical approach creates what has been described as "immersive, meditative drones from a distorted Indian harmonium, pulsating analog synthesizers, and a multitude of electronic effects." The end results are slow, constructively growing, repetitive melodies that create a warming wilderness of vivid harmonic depth. High & Upon represents the "long-lost sister" to Fennelly's Mind Over Mirrors debut, The Voice Rolling, offering three extended compositions that demonstrate his mastery of electronic harmonium manipulation. Originally released as a limited cassette on the always wonderful Gift Tapes label, this vinyl reissue has been given new life through an incredible mastering job by Rashad Becker.

The album's three tracks showcase different aspects of Fennelly's compositional approach. "I'm Willing to Stagger" opens the proceedings with slowly building layers of processed harmonium that gradually accumulate into massive sonic architecture. The warm tones created by the harmonium are blasted through an endless matrix of oscillators and effects processors, building new landscapes from the ground up with an almost geological patience and inevitability.

"Harmattan Morning" continues this exploration of textural density, demonstrating how Fennelly's minuscule manipulations add up to a massive, cohesive whole. Each little twist of a knob or flick of a switch is subtle in its immediate effect but integral to how deep and saturated the music becomes. The track exemplifies the project's core aesthetic philosophy: that electronic processing can enhance rather than obscure the essential character of acoustic instruments.

The album concludes with "Mountain Convalescence," which introduces brittle piano strikes into the harmonium-dominated soundscape. These percussive elements provide textural contrast while maintaining the album's overall sense of meditative flow. By the track's end, the keyboard seems to be ruminating from inside a jet engine, demonstrating Fennelly's ability to transform familiar sounds into alien yet emotionally resonant territories.