i'm now just over an hour into my vacation, it's that shocking part where disbelief in not having to go to work for a verilong time meets all the things i need to accomplish over the week to come.

this vacation will contain no hula girls (though that may be part of next xmas), nor will there be much time spent sipping drinks on patios, and it's almost entirely certain there will be no rental car. what this one is going to be about is getting centred, getting a handle on all the details of life that have somehow slipped away over the past year or so. and there'll be ambition in there too - i'll be exploring employment options and i have a single, not to difficult and somewhat lucrative contract to fill the empty spaces. i'm also planning on getting no less than nine hours of sleep each and every night, supplemented with as many naps as i can manage.

it's no horrid secret that for about the last two years, i've been quite the model of blog neglect. it's my ambition over the coming week, if only for my own sake, to make the effort to chronicle the days more frequently and accurately than i have in recent memory.

in the meantime, how's your panorama work coming? for more info, see this post from last week. i have only one solid sign on, and i'd be really excited to see more people get on board. it's lots of fun, and if you're mac'n and don't have a windows emulator, email me the pictures you need combined and i'll crunch them for you on my machine overnight.

right now, davin and braeden's collaboration mix aurium is in such heavy rotation on the home hi-fi and on the 'phones when it's late at night or i'm away from home, i'm convinced it is 1. one of the best progressive mixes i've ever heard, and, 2. the best mix i've ever heard created by anyone i've ever spent time at three in the morning at denny's with. aurium takes its place among sasha's involver, max graham's shine, dave seaman's global underground 022:melbourne and the parks and wilson radio one essential mix from 2002 in defining for me the highest spots of the genre in the last five years. the mixing is digweed-seamless, the tracks are all fresh and utterly intense, and the journey itself is far beyond the 80 minutes it takes, minutes which seem to go by in a heartbeat and yet somehow seem as though they might last forever. progressive is dead. long live progressive.