Albums

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The premier track on this one is “Speaking in Tongues”, a hard, fast slice of hard dance which draws a lot of influence from psytrance. I suppose this follows a thread I started with The Gateless Gate but with a little more gas.

The B-side “Shrieker” has a little different energy, but doesen’t underwhelm; this bouncy hard house track has an equally dark vibe with a bit of modern “donk” which will give your subwoofer a workout.

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“Shocking” could now be considered an older favorite of mine (Way back from 2013!), having been a central part of the mix SHOCKED. Although there weren’t enough originals in this mix to warrant an EP release, I really liked this track.

I had been thinking about this track a lot recently, and got inspired to create a drum & bass remix. This fits in really well with the original’s electro style while updating it with some more energy and modern touches. I think the remix is the high point of this release, but I also still like the original.

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As the name “Fractal” implies; a complex, multipartite piece which weaves in a few different directions. Cerebral, minimal acid techno.

“Cubism” is a techy track which starts with subtle space and peaks with a big acidic bassline. Minimal, yet big on the buildup.

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“Dubstep” is maybe a misnomer here. “Future Garage” might be more accurate, but more important than the label are the influences; these include Burial and Jon Hopkins, a couple of artists whose work I really enjoy. This music is hard to describe because it’s much different than any electronic music that’s been produced in the last 20 years.

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Deep, moody dubstep. This is a dramatic piece which goes a lot of different directions, but ultimately is driven by the heavy bassline.

The electric piano was the last addition to the track, but has become the glue putting the whole thing together.

The remix adds some pace for a slightly different vibe.

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As a young child, I read a children’s book which covered a number of natural and scientific topics. There is a part which particularly interested me which talked about the death of our Sun, to occur in 5 billion years. I would read this again and again until I was overcome with dread. Looking back this is probably a bit ghastly of a topic for 5-year old readers. As an adult, I have maintained a fascination with space, and find myself with a similar fixation on black holes.

Into the Void is presented as a concept EP in two parts, with a vision of travelling a great distance from Earth to a black hole. Starting from the excitement of beginning a journey, this moves to feelings of dread and timelessness near the end.

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The namesake of this EP is an interesting, challenging read. Although brief, you could spend a long time trying to understand. What I suppose I get out of it, in short, is non-judgement. This is a hard endeavor for a human and an even harder one for an artist, in particular because an endeavor itself is a form of judgement.

Choosing one thing means rejecting another. I do what I can, however, to “experience” rather than “decide”.

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This album started with a simple concept: a series of tracks centered around common instrumentation. Bells were the centerpiece for all of these songs; they differ drastically, however, in style and tone.