This album was originally released under the short-lived moniker The Insider in 2009. Most of the songs were recorded in 2008, and then I took the masters with me down to Mexico for a month in February 2009 and made notes about what I wanted to change. When I got back to Seattle, I finished up the album. The idea here is just to pay homage to instrumental hiphop and sample-based music. In particular, DJ Shadow blew my mind when I was 13 years old, knowing that the music was completely sample-based. It just opened up so many possibilities to me. I didn't follow the DJ-Shadow style completely on this album — there are some sequenced synth parts and so on. But most of the tracks consist primarily of WAVs sampled from old funk records and sources like that. The name is a reference to the issue of copyright. In my opinion, if you're creating something new from old material out of love for that material rather than for an intentional financial gain by copying that material verbatim, then it's fair use. I strongly support the right of artists to sample other musicians. Now, I have had a song of mine appear for sale on Amazon.com on a DJ mix listed as another artist. In that case, someone was making money selling a song I released for free and just using that song, verbatim in its entirety. That's different. But if you love a song, and sample it and turn it into something new, that's beautiful, man. When I heard the Chrome Sparks tune Marijuana (2012) and then my friend played me Idris Muhammad Could Heaven Ever Be Like This (1977), well, that just filled me with joy — what an amazing song the original is, and also how Jeremy Malvin (a.k.a. Chrome Sparks) was able to make such a different song out of the sample while still channeling some of that same vibe. I just love the magic of sampling. It reminds me of the magic of film, in a way. I've always been a huge film buff and if I can channel a little bit of an uncanny David Lynch feeling or a surreal Fellini thing, I'm happy. I think that's one of the reasons I enjoy sampling so much, because it takes other moments in time which each have their own uniqueness (the medieval philosophical term for this is haecceity, pronounced "hexity"). It's the same enjoyment I get out of film, the ability to splice together different feeling-tones or unique qualities of time that have been captured. That's also why I like recording in general, found sound, field recordings, all that. But there is something about sampling old records — it's like field recording back in time, like even just getting the ambience of the room from back then is cool to me. I'll sometimes just sample bits of vinyl noise or reverb and use them to add texture. I once heard of an artist who recorded the reverberations after famous recordings, as if capturing the silence of the room allowed one some special access to the jenes-sais-quoi of that moment in time. This may all be superstition, but I get a similar feeling going through recorded music archives. I get downright giddy finding new (old) sounds to play with.