Taking stock of humanity’s creative inventory unveils an eerie truth. The industrial ghost of dismantled factories and empty warehouses—faithful hosts of our nocturnal raves—has long haunted the music played inside.

The once lively spirit of sonic adventure has been sliced into silence through decades of spectral assaults. Left is a dressed-up skeleton of commoditized sounds ready for template-pressed mass-production, with a blue tick the sole remaining mark of authenticity.

What if we could jump back in time and branch off into a different direction? My music explores that very possibility by mixing the raw synesthetic energy and playful rebellion of electronic music’s infancy with the clarity and detail of today.

The single Lost in the Jungle is the latest result of these efforts. Its organic blend of progressive trance and acid techno shuns the beaten path to lure you into the mystery and majesty of rainforest life.

As you follow the pulse of nature’s heartbeat through humid layers of dense green sounds, the jungle’s enchanting chants draws you in deeper and deeper—until you’re no longer quite sure whether the voices you hear are coming from outside your head, or from a place deep within.

Are you coming along? Presave your seat today.

The drums and percussion come from the Erica Synths Perkons (Latvian for the Baltic god of thunder). The Abstrakt Instruments Avalon Bassline was on acid duty. 3 FX pedals added ambience and spice: the Empress Effects Reverb, the Empress Effects Echosystem and the ProCo Rat.

How were these instruments programmed for the live setup? Can you describe the process and any specific techniques you used?

For this first session, being unfamiliar with the Perkons, I used minimal and straight-forward routing: the main out (mono) of the Perkons was routed to the mono input of the Reverb. The Avalon was first routed through the Rat, and subsequently through the Echosystem in dual serial mode.

How did you approach the live session with this equipment? What was your strategy or methodology for the performance?

I programmed the patterns for the performance beforehand, allowing me to focus more on bringing them to live in the context of a track than on building them from the ground up. This meant plenty of opportunity for small, frequent tweaks to the instrument and FX parameters, with the change in pattern length on the Avalon being responsible for most of the tonal variation.

What did you like about this session? Was there a moment or aspect that stood out for you?

My favorite moments were those where I got into a flow of making small changes to both the Avalon and Perkons in quick succession. At times it almost felt like the instruments were musical lifeforms participating in a dance of step-wise mutations in which we all played our part.

What do you want to do more of, or what did you learn from the session? Any insights or areas for future exploration?

Let’s further explore this strange buzz of subtle interactions that made the experience of performing feel alive. At the same time I would like to become more familiar with the Perkons. Hoping to increase rythmic variation and experiment with more (and more sudden) contrast between sections.

Another concept I’m going to try out is to alternate a performance-oriented session like this with starting from scratch. I’d doodle around for an initial sketch, then compose the music in the process of playing it and exploring where it might go.

What did you make of the video? Any thoughts?

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