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.

The first part of the EP is an exciting and fast-paced set of breakbeat tracks. In the second half, dark, spacy drum and bass takes over, including “Titan”, one of the most dramatic of the entire EP (for that matter, recent memory).

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”.

Psytrance was the main inspiration for this EP, although it goes into euro-trance territory in places. “Third Time” is the third version of an older favorite, and “Start to Finish” is an adaptation, rather than a remix or cover of, Bear McCreary’s excellent score from the Walking Dead episode of the same name (S6E8).

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.

There’s a bit of everything here. Starting with “Nightmare”, which gallops into the album with heavy basslines and a solid 4/4 rhythm; “Trigger Warning” brings the breaks with 808-style beats; “Apex Predator” is an agressive drum and bass throwdown; “Prism” closes up the “main” album with a slice of synth-heavy dream-pop. There’s also a remix of “No Greater Love”, one of the first tracks I ever produced.

There are two VIP mixes for a couple of my favorite cuts on the album, “Prism” and “Apex Predator”.

My electronic music journey started in turntablism, so hip-hop has always been part of the foundation. The connection between hip-hop production and electronic music isn’t new - it’s been there since the beginning. What’s interesting is watching modern hip-hop circle back and embrace techno elements that were always lurking in the background.

Metaphysics explores that intersection from the production side. These are instrumental hip-hop tracks built with an electronic music mindset - the beats come with some credibility, but there’s space for an experimental edge.

House music doesn’t need to be complicated to be profound. In fact, the simple, escapist nature of house is not lost on me.

It’s for this reason that I feel a strong connection to house. House has a way of making life’s problems seem insignificant; and in all it’s simplicity, there is so much opportunity and freedom.

FOUNDATION is exactly that - straight-up house without apology. New tracks, reimagined versions of older material, all built around that essential groove that makes problems disappear.

This is simple, feel good music, which doesn’t warrant any explanation greater than that. From here, we can build so much. Here, there is safety. This is FOUNDATION.

Existential Funk was what came out when I stopped second-guessing myself.

2008 was a year when I couldn’t stop writing. I kept starting tracks in one genre and finishing them in another - minimal techno that wanted to be drum and bass, trip-hop that demanded breakbeat treatment, house tracks that went trance halfway through.

Most producers would call this unfocused. I called it honest.

The album title came later, but it fits perfectly. This was music about being caught between states - between genres, between moods, between who you were and who you’re becoming. The “funk” isn’t just the groove; it’s that unsettled feeling when you can’t quite pin down what you’re hearing, or feeling, or becoming.

“The disc has enough thumping bass and spacy synthesizer chords to please any trip-hop head.”

– URB.COM