Los Angeles-based producer / composer Deru (aka Benjamin Wynn) approached EFFIXX with a fully-realized set of moody but melodic ambient recordings that ultimately became 1979, the first thing we both agreed on while comparing notes was that the prevailing feeling of the record was that of warmth and nostalgia. The songs themselves were bounced to cassette before mastering, so inherently the warmth derived from analog tape hiss and crackle created the sort of trapped-in-amber sonic qualities of “found music”.  
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This led us down a path towards contemplating novel ideas for the release media itself, and we kept returning to the concept of a “modern-day time capsule”.  We reminisced on the days when unwrapping a physical album of music created an emotional connection between artist and audience, the moment where a fan could be hearing the songs for the first time while reading liner notes and seeing images as a holistic experience.  So we set out to create both a sculptural artifact that would embody the album — as well as a mythological universe surrounding the music that would reward listeners with layers of narrative context to unpack and in some instances, actively contribute towards.