I wrote the cover track during my mother's passing. During her last two weeks, we held hospice in my house in Texas. Since I was her caretaker for the previous four years, I acted as a head nurse with tons of help from my sister and aunt and check-ins from a hospice company. It was a very stressful and sad time, and I don't sleep much under stress, so I was in my studio every moment I wasn't occupied. When I’m stressed and going through hardship, I’ve found I do best when I stay busy and channel my emotions into something that makes me proud. Eternally Yours Truly in words is a trance translation of my emotions during the last two weeks of my Mom’s life- driven by a fire to make her proud. The rest of the tracks were pieced together in the 6-month period following.

“The Deepening” is one of my favorites to play out lately. Unlike “Eternally Yours” with its stacks of midi synths, “The Deepening” is largely sample-based. I “hand-crafted” the kick and sub first and found it sounded so sick with an Amazing Blaze sample I bought from his bandcamp and modulated. I wrote the bass with my own reese rack and found a siiiick stab on splice, but something was missing. I then took the hardstyle kick I used in my single “Manipulible Reality” and started experimenting with some fills played at different notes. It’s hard to place such a big kick in a techno trance track, but it worked great here, and I loved the results.

Just to clarify, I've been a low-key hardstyle fan for a long time. Listening to DI.FM in 2009-2013 era I got into Showtek, DJ Issac, Q-Dance etc... I was never a hardstyle DJ, but I was in awe of hardstyle sound design. They came up with the most off-the-wall sounds; it was mindblowing. I was ecstatic when I heard hardstyle influence start creeping into the LA industrial crowd in 2021, so I’ve been toying with hoovers and hammer kicks in my techno production ever since.
'Bump My Tape' was a lot of fun to make. I started with a deep modulated bass I crafted from scratch using the same system I used for the mid-bass in “Manipulable Reality”. I had already been playing with DJ screw samples in multiple projects and finally found a dope mesmerizing sample that worked perfectly in a break- “Gimmie 5 funky dollars you can bump my tape”. It all came together when I found a stab for the break’s pick-up and of course, added MORE BASS and some dope drums. Lots of 808 action is going on here. The crowd goes nuts on this one and I love the results (they literally start screaming like crazy people).

I've always had a tough time fitting in with the current sound because I like to blend techno and trance deep in a way that hasn't really been popular until lately. I honestly love the current hard techno trends because I feel like I can actually be myself without having to fit into the traditional techno box (whatever that is). Trying to connect with a broader audience is still tough for me, but lately, I feel like I haven't had to focus on that much because enough people’s tastes are starting to align more with the music I like to make. I have gone through an effort to keep up to date with techniques, synths, and sample packs that align with current sound trends, but so far keeping up with people’s tastes has been more complementary to my sound rather than taking away from my artistic vision. Who knows how long this wave will last, but I’m enjoying the ride!

I have a track that I just finished that I’m incredibly excited about. I can’t say much about it, but I’m positive it’s gonna be huge- definitely my biggest yet. I just finished a remix for my bro Amuck slated for release on Ayako Mori’s PTR that I'm pretty excited about. I have some guest mixes I’m excited about getting out because it’s been a while since I released a stream of fresh mixes. I also just finished an EP I’m liking a lot, but it will be some time before that announcement. I’ve been pretty inspired lately with a lot in the works, so I'm excited to see what the rest of this year brings. If all works out I'll be making my way back to Europe for some more shows before end of this year and a move that way soon.

Although I started recording and producing rap music earlier, I dove into rave music in 2010. I enrolled in an audio engineering school after the University of Texas, but unfortunately, electronic and rave music was still foreign to the pros in Texas at the time. I finished my engineering courses knowing how to mix a band down on an API desk in a studio, but absolutely no knowledge of Ableton or how to produce or mix electronic music. I learned almost everything on my own over a period of 7 years of trial and error through multiple genres before I was ready to launch my Chemtrailz techno project in 2018. From there it was 3-4 years of releasing before I finally established my own sound in 2021-2022. It’s been quite a journey and although I’ve had a harder path than many to get there, I’m certain it will be all worth it very soon.

It feels amazing. My first recognition was by Todd Terry in 2012, then it was some years before I got any more serious support. Then it happened again, eventually, with my first Spotify 100k play track, then again sooner when Coyu let me remix him on Suara, and again and again with Voxnox and Amelie and playlistings from Charlotte De Witte and Volvox and HEX and many, many others... It’s a massive boost of confidence and truly helps keep you going. The fan messages here and there definitely help a lot, but once I started seeing hundreds of thousands of people tune into my work through these big artists and labels I finally felt I was on the right track. It can be tough in this industry- getting turned down and disregarded on a normal basis for years and years at a time, so it really helps when you finally start seeing the people that made it turn around and support your work. Signing with Exhale and Voxnox were both dreams of mine years before it ever happened, so it really feels good and keeps me going to know that through nothing but hard work, I’m accomplishing something that millions of people have tried and failed at again and again through time.