In early January, 2018, I was looking through the year-end summary on the celebrated techno abyss that is, when I suddenly found myself sinking into the despairing muck - so many albums, so many genres/subgenres/microgenres, so many “producers”, so many idiomatic signifiers, so much noise. It suddenly all seemed so pointless - any possible idea you might have would certainly have already been realized by someone more ambitious than you, someone already on the EasyJet flight to Tegel. All of your hopes and dreams swallowed up by the gaping maw of capitalistic technonanism...

Mercifully, this nihilistic reverie was a relatively brief one, and I was able to pry myself out of it by making this album over the course of the next 3 days. I decided to attempt willfully to depart from track-constructing logic, from reasonable gestures, and from worrying about how it would fit into any larger picture of “the scene”. Let ‘em take Berlin - we’ll always have Glendale.

The whole thing was done in Ableton, in my spare room, sitting in my reading chair, on a pair of Beyer-Dynamic headphones, since despite having some of the worst neighbors imaginable, I refused to be impolite and subject them to hearing my nonsense through the walls. In addition to proving a point about the emptiness of material pursuits in art making, I also wanted to demonstrate that specific gear or ideal studio conditions are not at all necessary in order to make something that bangs. Sometimes I like trying to make points - sometimes I don’t care. I’m a mess, just like you are.

In making this album I wished to reassert the primacy of dream logic in art making, and lemme tell ya, it worked.