Venetian Snares claims the album originally had a 12.6 surround sound mix:
It's actually 12.6,,, [sic] 6 around the ceiling, 6 halfway between the ceiling and the floor, then 6 subs on the floor. So you are completely surrounded and sound can be placed virtually anywhere in the field. Say you have something start in the very top left then crash behind you to your right and explode into everything like standing inside a mushroom cloud. You get the picture. Was done at Naut Humon's Recombinant Media Labs studio in SF. Richard Devine, Otto Von Schirach and a bunch of others have also done music on the system. We all did a show around this time last year at the Paradiso in Amsterdam performing some of this 12.6 surround madness.
This album sees Venetian Snares experiment with time signatures beyond his naturally unorthodox meter of 7/4: "Vida" is in 5/4 time; "Huge Chrome Peach", "Ion Divvy", and "Bent Annick" are in 11/4 time; "Li2CO3" is in 13/4 time; "Destroy Glass Castles" is in 10/4 time; "Nineteen 1319" alternates, as its name suggests, between 19/4 and 13/4 time. "Chlorophyll" has a compound time signature which effectively amounts to 17/4. Several songs feature recognizable samples from a Speak & Spell and Speak & Math.