This is collaboration that Tobias Enhus and I started at the beginning of 2017. As “The Drive Inside” drifts away the reward for all the hard work begins as “Chapter One” fades in. It’s also a reminder to jettison negativity from your life and to nurture creativity and kindness. “The Drive Inside” is one my favorite tracks on the new album. Glen added a bit of cheeky bass and New Order inspired guitars. This songs all about starting over, grinding it out, overcoming doubt and finding the internal drive to push on and move forward. After Tobias added a bit of magic, “Carry-On” evokes a feeling of movement and is a lovely transition track between “Turbulence” and “The Drive Inside.” The last track added to The Trip Home came from an outtake from a scoring session. The beat is nasty, the grove is relentless, and when everything drops out, we wanted it (to feel) like the tranquility of ambient space. (It’s) fed through a few of the original Moogerfooger pedals and sounds like 7 million pounds of angry hornets lifting into space. Amy’s stacked harmony and wistful voice are lifted and carried forward by the formidable Prophet 6 finally breaking free of structure and order, and calmly dissolving into the ether of time.Īnother stellar collaboration with my mate Glen, the intro of “Turbulence” features one of my favorite synths, the Roland Jupiter 6. I visualized our spirited protagonists journey through turmoil, confusion, elation and the inevitability. Being that Dylan’s studio is only about 50 feet from mine, I must have heard them working on it through the walls, because I felt an immediate connection to the it. Le Castle Vania, Amy Kirkpatrickĭylan (LCV) played me a short demo of “Ghost” that he and Toronto artist Amy Kirkpatrick had started on a few years back. Long-time collaborator Tobias Enhus adds organic and synthetic elements to bring the energy to a boil. The track really opens up at 1:45 when the groove drops out and a soft palette of synths and strings allows the track and the listener to breath. Wanting to capture the energy of one of my favorite LA clubs from the early 90’s, Truth, the propulsive beats and driving synths capture the euphoric feeling of a Michael Cook set at the Park Palace. Glen and I sourced the propulsive bass from my Memory Moog, and many of the synths sounds are from my favorite iOS app Virsyn’s Cube. The OB-6 from legends Dave Smith and Tom Oberheim screams for attention, and my mate Glen Nicholls (co-producer and co-mixer of The Trip Home) helps me bring down the hammer and kick off. “The Raze” (meaning to destroy to the ground, to demolish and to build back again) features the very talented Tony Buchen playing bass through my vintage Electro Harmonix Bass Micro Synthesizer pedal. More metal than EDM, this combustible track was born out of an inspired demo from Dylan Eiland, aka Le Castle Vania. Learn the back story of The Trip Home below. It may be his first solo record, but he didn’t have to make it alone. Billboard Dance caught up with Kirkland to talk about the journey, which actually involved a lot of cool friends along the way. In that sense, The Crystal Method has not changed. There’s something decidedly sci-fi about it and otherworldly. It’s theatrical and steamy, beautiful but haunting. Metal elements merge with industrial techno to create a warehouse rave in the mind. The top half of the board is “always on” and the bottom half gets shuffled around depending on the song.The act’s signature acid-electro style is still on full display. Even though I keep it pretty dirty, the Randall amp acts as a “clean” (and has the DI in the chain) and the Gibson has the majority of the other effects. Definitely into tone like DFA79 and the newer Royal Blood stuff – heavily effected but still bass. It’s unwieldy but has really helped me sort out my ridiculous tonal dreams. I run a stereo bass rig with my band, as you can see above. It feels like a bit more of a one-trick-pony than the Micro Synth, but it also works a lot better for what I need it to do. Considering I generally left the Micro Synth on the same sort of square-wave setting, this thing does just that and does it well. I needed something with a bit more control (and, uh, a “level” knob). The Micro Synth is great, don’t get me wrong – the functionality is amazing, but I had serious issues with the bypass. I got this to replace an EHX Micro Synth. ABY > JHS Little Black Buffer > Ibanez Stereo ChorusĬhorus Out Left > Sansamp Bass Driver DI > MXR Phase 90 > AMP (Randall Bass Commander II 1x15)Ĭhorus Out Right > EQD Bit Commander > EHX Pitchfork > MXR Q-Zone clone > EHX Crayon > Way Huge Pork n’ Pickle > AMP (Gibson G100B 2x10+1x15)
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