As mentioned in my last post, this album is in some ways a counterpoint to my previous release; while Interlinked (2024) was more intimate and hopeful, much of the feelings that fueled DISILLUSION resulted from experiences and observations of tension and challenges over the past couple years, both on personal and societal levels respectively. Rapid change, chaos, overwhelm, saturation, helplessness and nihilism met in equal measure with a defiant will to push back and fight for what’s genuine and beautiful and worthy of effort. I think it’s the intersection of all of these things – the pressure and violent collision of these opposing ideas – that I ended up channeling into these tracks. As a result I’d say it’s a bit more aggressive and noisy than anything I’ve made since Metamorph (2020), though still not without its contemplative and hopeful moments.
Looking back from here on my process, I almost never start with a clear concept and carry it through to completion. Having the luxury of time to spend on a hobby like music allows me to do whatever I want with it and the result for me is a fulfilling and subtly cathartic expression of whatever I’m feeling at the time – oftentimes something I would struggle to even put into words. So every couple of years when the timing feels right and I compile the best of my efforts together into some kind of cohesive whole it’s interesting and somewhat illuminating to see the through-line develop, almost like reading back through a very abstract journal.
On the technical side, I experimented with multiple approaches this time around. With a Push 3 standalone I tried some “dawless” style sketching and production with the Elektron Syntakt and Digitone, Moog Labyrinth, DFAM and Subharmonicon (“infinity”, “memento”), but also did a lot of daw-only production using some of the amazing Fors m4l and vst instruments (“succumb”, “spellbind”, “risk”). Also quite recently got an Ableton Move which formed the basis for “acceptance”. Aside from Live’s stock instruments and effects though I think my most-used piece of hardware continues to be the unassuming Arturia Minifreak (owing in no small part to its complementary 1:1 vst). On “sphere” I took one of the tracks from my Sonic Sanctuary Live Set and brought it to a more polished level, which was another new approach for me. Overall I think working with different instruments, layouts and techniques helped keep things fresh and interesting, avoiding same-y ruts that I’ve fallen into before, and likely something I’ll continue to try moving forward.
Available now on Bandcamp || Streaming releases November 28
Josh Barnett 