This LP was started in Brighton (December 2006) and developed and finished in London (July 2008). For some time before I began work on the record and throughout the process of making it I was resurrecting my interest in electronic music of all types, and a desire to move away from the organic sounds of traditional, easily recognisably instruments used on my previous album and into more electronic and harder to place sounds developed. I never wanted to make the same record twice. As my surroundings, listening habits and personality have changed so has the sound of the music that I make. The sound of the album can be described as a mixture of Hip Hop, Dubstep, Ambient and ‘electronic music’. The record is darker, harder, faster and more tenuous in the array of sounds used than my previous work. That said, perhaps the most important qualities of my own music for me is the way it creates an emotive atmosphere. I hope that I haven’t lost any of that. I don’t think I have but then it’s all subjective isn’t it.
My friend Ian Murphy has been a very influential figure on the sound of this record and the changing form of my music. We have recorded live, improvised jams together as Copermahks and he opened my eyes to the ease of creating sounds through a variety of techniques that I knew existed but that I wasn’t utilising.
Finally, to list some things that has influenced the sound of this record, and to list music that I think sounds similar to this record: Hip Hop, Dubstep, Techno, Ambient, Noise, Chris Clark, Kode9, Mala, Pinch, the DMZ club night, Eno, Japan, London, Vex’d, Inner Science, Steve Reich, Burial, Ghost In The Shell, Atheus, Autechre, Derrick May, Rob Hall, the Brighton ambient / noise / improv / experiemental guys, KTL, early Jungle, FSOL, Copermahks, Ian Murphy, Bladerunner, the Bladerunner aesthetic, Zan Lyons, Flying Lotus, Project Mooncircle, my friends, my family, Stanley Kubrick, David Lynch, the Coen Brothers, Richard D. James, 60s-70s German rock music, The Glade Festival.