Archival, unreleased gems culled from Richard Lainhart’s prototypical late 80s phase, a continuation and summation of the varied modes of digital expression first actualized on his debut These Last Days, veering between wayward guitar mesmerics and drone existentialism to offworld tribal process music. Polychromatic Integers lives up to its title, melding together sensibilities as wide as early Tangerine Dream, Patrick O'Hearn, the minimalism of Steve Reich and Terry Riley, Frippertronics, the marimba textures of gamelan crossed with LaMonte Young, and the kind of atmospheric drones that have become all the rage in underground electronic experimentalism the past 10 years. Periodic Music label head Ron Goldberg noted that, "Polychromatic Integers is the unreleased follow-up recording to Richard Lainhart's remarkable first recording, originally released by the pioneering Periodic Music label in 1987. In a sense it is a 'lost' album (now gloriously found), but in its musical signature it's as reflective of today and tomorrow as its own era. Over the course of those years, Richard's impossibly evocative sonorities and fascinating treatments of time and space have created what is, in effect, its own musical genre, one that has influenced a generation of electronic composers that can be heard in countless variations and hommages throughout the world of electronica. In its seamless blending of digital technologies and human musicianship, Polychromatic Integers is an early classic of the MIDI era that never was, but now, thanks to Periphery, always will be." Performed and produced by Richard Lainhart, recorded in real time direct to stereo DAT Tracks 1-6 engineered by James McLean, track 7 engineered by Richard Lainhart "The Rising Night" (1986) and "An Unknown Number" (1988) are for Yamaha WX-7 MIDI wind controller with Korg DW-8000 and EX-8000 synthesizers and E-mu Emax samplers controlled by a Mac Plus running Opcode Vision. “The Naga" (1986) is for Lync LN-4 MIDI keyboard controlling a Kurzweil 150FS synthesizer (using a Balinese scale) with Vision-controlled synths and samplers. "Desert Gardens" (1986) is for Chapman Stick played with an Ebow and Vision-controlled synths and samplers. "An Open Hand" (1989) is for Chapman Stick solo with digital delays. "Under The Clock" (1988) is for KAT MalletKAT controlling Intelligent Music's (now Cycling 74's) M interactive MIDI performance software, which in turn controls E-mu samplers. "Staring at the Moon" (1987, revised 2003) is for bowed amplified vibraphone and M controlling software samplers playing bowed vibes samples.