I don't recall the exact day that a friend in my college dorm introduced an enormous black metal box (a Roland JV 1080 to be exact) into our lives, but I do recall the impact it had on my life for the following year. After access to the JV become limited, I switched over to an obscure tracker called Cybersound and pieced final arrangements together in a rudimentary audio editing application without any sort of BPM locking... I had to use a calculator to make sure things stayed on beat. I think "Slow Dissolve" is my first completed track ever, complete with requisite mono and an intriguingly limited frequency spectrum.
After 4 or 5 years of limiting my audience to my closest friends, I figured I should do what any self-respecting musician should do in the late 90's: find a label. I sent CDR's to a few places, including the now legendary and defunct waxtrax!. The label that responded to me (Sub:Marine) was run by another college dormmate Matthew Jeanes, who now records as Larvae. We picked out an appropriate collection of tracks for the album, all of which were somewhat somber, dark or serious, which seems odd to me now because I've never considered myself to be that type of person.
Underland was just a small sampling of tracks I had been making at the time, and I was eager to find an outlet for the more spacious and ambient music I had produced. This was also the golden age of mp3.com, a user-driven hub of amateur musicians looking to connect and be heard. It was through this site that I met Matt Arnold, aka Mr. Projectile. He suggested I contact Toytronic, a boutique UK label known for their limited and colorful vinyl releases. They agreed to release 6 more tracks, and fortunately I talked them out of what would have been the worst album title of all time.
When 3D Concepts was released I was living in Chicago, and was enjoying its rich and varied electronic music scene. Through this I was introduced to Geoffrey Wilson, who ran The Consumer's Research and Development Label. I was impressed with the albums he had already released (particularly String Theory's Anhedonia) and was happy to join. We put 7 tracks on a baby blue 10 inch, which if you are wondering DOES look like you can eat it.
Over and Through was mainly the product of live keyboard jamming and loose sequencing with outdated software. Shortly after, I invested in Logic which at the time was not owned by Apple. I was swept away with the power of its synths and sequencers, and the tracks on Yes and No were born. It's definitely more of a dancefloor oriented album... perhaps I could feel the IDM scene slowly dying, or at least dissolving into other frontiers. Shortly after its release, I attended Burning Man for the first time and received the honor of performing live for a huge geodesic dome of revelers, the music surging through an absurdly magnificent array of speakers, a hundred fires barely visible in the distance.
2005-2007 was an intense period for me in many ways. I quit my freelance career to start a game company with my good friend and fellow musical collaborator Rich Grillotti. I met my future wife and mother of my children in a used bookstore shortly after watching a close family member die in front of my eyes in a hospital bed. I was primed for new experiences, and my musical adventures seemed to be coming to a logical end. My last "proper" release was a collaboration with drummer Steven Hess. It started in Chicago and was finished in a tiny apartment in Southern France. Around the same time Kate Simko was visiting, and our Wiretap project was born. My last live performance was with Kate on the day before my wedding, the day before I would symbolically redirect my creative energies to other endeavors.
These days I don't have much time to direct towards music, but I do get the occasional opportunity to slip away into the basement studio after the kids are asleep. I've managed to produce about 1-2 tracks a year, and they surface in various ways. I keep telling myself that one day I'll have the time and tenacity to make another full length album, but honestly it's still a long ways away. Who knows what the future will hold, though. For now, I'm thrilled to be able to share all of this music with you. I hope you enjoy listening to it as much as I enjoyed making it.