The Drawing Room marked a significant departure from David Khan's earlier work with the leonard Nimoy & Vaccine projects. Gone were the machine-like constraints of electronic rhythms & the distinctive sonic textures of droning, multi-layered guitars. In their place was a more spacious & intimate music, created with the aid of an Ensoniq ASR-10 sampling keyboard. Piano & voice were soon to become the essentials of David's post-Nimoy song/lyric material - lending, to his compositions, an unprecedented elegance & subtlety. At the same time, a growing arsenal of drones & sound effects - meticulously recorded, processed & constructed from a variety of natural sources - served to enrich his continuing experiments in the ambient/industrial realm. These songs & soundscapes defined David's mature musical sensibility: a somewhat moody & melancholic romanticism, combined with a yearning for transcendence & release. The Drawing Room also introduced kRkRkRk to the world of digital recording, with all of its rewards (pristine sound) & penalties (greater expense & complexity).