Techno

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Club Control is a bold new statement.

The title track leads with assertive attitude, a shot of heavy tech-house that gets totally spaced out in the middle. The bassline thumps through the whole way, leading some more atmospheric elements of the track until the end.

This took a lot of time to develop right. While this stands well on its own, I needed a second half to this single.

The B-side then became the “Dream and Bass” remix. This remix takes the original and flips it on its head. The dramatic turn is something like a misremembered, intense view of the original - just like a fleeting dream, and just as vivid in the moment. There’s something very different here, but it’s profound.

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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.

“Cubism” was produced alongside the other exclusives created for FOUNDATION. It probably took the most time to produce, and it’s also the longest. The latter is one of the reasons I decided to reserve this track from that release; another reason is that it just didn’t fit in with the straightforward nature of the rest of the EP.

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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.

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”.

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