There’s some of us out here in the world that may have had dreams of being a full-time artist, part-time employee. You know, the kind of artist that says the hell with “getting a real job”, as your factory-working uncle tells you at the family reunion each year. Or the weird truck driver that lingers a little too long at each stop in order to tell you what’s wrong with kids these days. The kind of artist that gambles it all for the sake of creativity. Slaying tables at a restaurant, or selling Kenny Wayne Shepherd CDs to that same factory-working uncle at the local record shop in order to make just enough dough for rent and a case of ramen. So that what is left can be put into instruments, software, painting supplies, CD duplication, promotion, and maybe an extra pair of jeans. Then hopefully there’s enough change left to put gas in the shitty compact car they’ve had since sophomore year in college to get to a gig/showing/installation. All so they can go play a gig that they put together themselves so someone can poo poo about paying $10 for a CD or $25 for a t-shirt as that artist is setting up their own equipment and sweating the fact that besides the guy annoyed at paying money for product, there’s only 6 other people in the venue.
Despite the hassle, the low returns, and the poverty that full-time artists/part-time employee promises, they still do the dance. They do it because creating art, regardless of the medium, completes something in them. They work the service industry because it can be flexible and it allows the artist to continue writing, performing, painting, or whatever their creative trip is. There’s this unity in the independent artists community that cannot be denied. The freedom to create what you want, when you want, that seems to foster reaching for something far beyond the usual.
Unfortunately, with the gamble of being an independent artist with a job without benefits of healthcare, paid vacation, and the general safety net of monetary shelter, even something as minor as a sprained ankle can do irreparable damage. That’s why a lot of us artists become part-time artists and full-time employees. We trade artistic freedom for security; 2 am recording sessions for 5 am wake up alarms; Friday night gigs for Saturday morning pancakes with the kids. I think the full time artist gives up far more than what I’ve given up. I’ve traded my artistic aspirations, but I haven’t given up my passion for art. I get my fix through these many independent musicians I encounter on a daily basis. Whatever “thing” I don’t get through going into my basement studio and disappearing for hours at a time I’ve found it in the music of so many wonderful and beautiful musicians. Their art fulfills an artistic need and intellectual need I crave to get through the daily grind. They open my brain and pour in big ideas and a musically-colored escapism that I’ve devoured since I was 4 years old and got from my parents copy of Sgt. Pepper.
If you’re at all familiar with these digital pages, then you’ll recognize the name Justin Sweatt. I’ve talked about Justin a handful of times just in the last couple of months. His Termination Dust kind of knocked me on my ass, which led to my mind being blown by an impressive body of work which includes The New Dark Age Of Love, Urban Gothic, California Chrome, and plenty of other incredible EPs, re-scores, and art installations. He also recently released his first solo album as Justin Sweatt. It’s called Say Your Goodbyes and it’s absolutely brilliant. Justin is one of those independent artists I’ve been talking about. He slags through the service industry in order to support his desire to create music. He’s given the freedom to create what he wants to create, work with whom he wants to create with, and explore where the muse wants to take him.
Last week Justin was riding his bike when he was struck by a car. The accident had the potential for serious injury(or worse), but his quick reflexes avoided anything life-threatening. Unfortunately Justin suffered a broken collar bone and concussion. He’s unable to work now for at least four weeks. The injury has left him unable to work at his service industry job or to create musically. He’s in a physically and emotionally painful holding pattern. The double album he was working on has been released “as is”, as well as a two-song ‘Sessions’ EP.
Justin is understandably frustrated and worried about where to go from here. Why am I telling all you about this? Because we can help Justin, and many other independent artists by supporting them. How? By buying their art. Downloading their albums, buying their LPs, paintings, or paying the cover charge and checking out their shows. Justin has quite a collection of music to dig into. Head over to Justin’s Bandcamp page and download some music. It’s that simple. It’s not charity. It’s capitalism, baby. Money for product. That purchase allows Justin and many other artists like him to stay independent and creative and make the art their hearts and minds ache to create. It’s not product like crappy food, disposable goods, and general manufactured refuse. This is heart and soul goods. This is spiritual fuel, man. Music is good for the soul, and with the click of a button it can be yours. And maybe Justin doesn’t have to worry so much about medical bills.
Whether you’re a full-time employee, part-time artist, sometime parent or lapsing Catholic it doesn’t matter. Support the arts and the artists that make that art. Give Justin some peace of mind and download some of his music. We need creative souls like Justin to keep creating. He, and other artists like him, are what make the world go around.
Sometimes taking on an alias or persona can be a comforting thing, especially when you’re an artist. The moat and wall defense of a different name other than yours can give someone a sense of protection. It allows them to be more daring artistically and creatively than if they were standing before you, birth name and all, wearing jeans, a t-shirt, and their pair of favorite kicks. Behind the persona there’s a sense of freedom which can open an artist up, allowing them to get out on the ledge, scream at the Gods at the top of their lungs, and dig deeper than they could otherwise. A persona can turn an introvert into an extrovert, while still allowing them the luxury of being that quiet soul behind closed doors. When you’re in a band you can seemingly still be “yourself”, while being protected under the umbrella of a band name. As a solo artist it’s all you, and unless you’re Beyonce or Morrissey, well it can be a lot to take on as the kid everyone knew in school who’s amp stopped working mid-talent show.
For quite a few years now Justin Sweatt has released music as Xander Harris. The music of Xander Harris has moved through dark techno, EDM, heavy synth, ambient, and even elements of synth pop, all with the confidence of an artist that’s sure of himself and what he wants to convey. I don’t know Justin, so maybe he’s not a shy introvert in his everyday life. Maybe he’s just as big a personality as the music of Xander Harris sounds to be. But after listening to Say Your Goodbyes, the first album Sweatt has released under his own name, I’d go out on a limb and say that at least a part of him is more reflective and inward-looking than his persona Xander Harris. Say Your Goodbyes is really a remarkable collection of songs filled with longing and beauty. It feels like a period at the end of some grand statement. It’s much less about dark electronica and more about making amends, whether it be with estranged relationships or with yourself.
“The Girl With The Diamond Tattoo” sets the tone of the album. It’s a wistful, wide-eyed conversation of a song. A contemplative walk on the shoreline, or a sunset car ride to nowhere in-particular. Simple, breezy percusssion and hazy keys make this the kind of song you want in your head when taking the next step towards something new. “Booze Clues” puts me in mind of Tangerine Dream. Like Risky Business-era Tangerine Dream. Or those contemplative moments on Miami Vice. This is a late night cruise lit by neon lights. “A Light Boils Dim” veers into Vangelis territory. There’s a regal feel in the sparseness of the track. “Chasing Paper” has a feel that’s much lighter than previous Xander Harris tracks.
Listening to Say Your Goodbyes I can’t help but feel this is a musical side of Justin Sweatt that he’s wanted to share for some time. While not a 180 degree turn from his Xander Harris work, it does display a new tone. One that feels decidedly more sun-lit and positive. He seems to be conveying a hopefulness in tracks like “Touching From A Distance”, “Hello, Lonesome”, and “Eternal Return”. Or if not hopefulness, at least a wide-eyed honesty about where he is in the world now. No dark tones and pulsating beats. Just a raw energy coming from a new outlook. A guarded optimism.
I, like the rest of those Xander Harris fans out there, hope there’s more coming from Xander Harris. But if Say Your Goodbyes is indeed an ending to a musical era for the persona known as Xander Harris, I can say it’s a truly great start for a musician named Justin Sweatt.
In just a very short amount of time the music of artist Xander Harris, known to friends, family, and his high school Marching Band instructor as Justin Sweatt, has made a pretty huge impression on me. Starting with his most recent album, 2017s Transmission Dust, then working my way through The New Dark Age Of Love, California Chrome, and Urban Gothic, I was floored by Sweatt’s constant evolution with each record. He runs the stylistic gamut on his four full-lengths; from sleazy giallo to dark techno to ambient to dystopian dark synth. There seems to be a constant push to change up what he’s doing each time out. Rather than sit comfortably on top of a single musical trend, Justin Sweatt takes the music of Xander Harris into new territory each time out.
Like I said, it’s been a fairly short amount of time that I’ve been privy to the musical world of Xander Harris, but I’m happy to have finally stumbled into his records. Whenever I come across an artist that is always moving forward, I want to ask them what pushes them to create like they do. What drives their creative mind? Where do they pull inspiration and influence from? Sometimes these artists are up for some questions and sometimes they’re not. Fortunately for you(and me) Justin Sweatt was happy to talk to me about the musical world of Xander Harris.
J. Hubner: So where did you grow up?
Justin Sweatt: I grew up in Midland, TX. It’s in the middle of nowhere out in West Texas filled with social conservatives, oil fields, and a totally flat desert environment.
J. Hubner: Was music an important factor in your life growing up in West Texas?
Justin Sweatt: Music was definitely important to me out there because there weren’t that many people I could relate to and it seemed like a doing music was a way out of the area. Truthfully, I have a love/hate relationship with West Texas but I think it has more to do with my general love/hate relationship with life.
J. Hubner: So music was a constant for you in your formative years?
Justin Sweatt: I was always interested in music as a child. My childhood friend Joel had a piano and I’d plink around on it. I had a little record player when I was about 5 I would take everywhere that my grandmother gifted me when I was little. She gave me a bunch of 45s but the Beach Boys “Surfing USA” 45 was the one I would listen to constantly. It began a life long obsession with Brian Wilson, weirdly enough.
J. Hubner: Besides Brian Wilson, was there any other artist that hit you hard when you were growing up?
Justin Sweatt: Like all teenagers during my era the most important band for me was Nirvana. Cliche but it’s true and Nirvana was the gateway to everything else as far as forming my listening habits. 80s music was a constant as a kid as well, my mom always jammed the Eurythmics, Thompson Twins, and stuff like that.
J. Hubner: Do you remember the first album you ever bought?
Justin Sweatt: First album I ever bought with my own money was a Tears for Fears CD.
J. Hubner: Growing up in West Texas did you often haunt the local video store for classic 70s and 80s American and Italian horror films?
Justin Sweatt: I did scavenge VHS stores as a kid for horror stuff but it mostly consisted of Carpenter and Hellraiser, mainstream horror titles. Most video stores in West Texas didn’t have any of the Italian directors when I was a teenager. It took me moving to Austin before I was ever able to have an opportunity to watch any of those films.
J. Hubner: So how does cinema play into your work, if at all?
Justin Sweatt: Frankly, film isn’t incredibly influential to my writing process. Certain soundtracks are in there but I am mostly inspired by works of horror/weird/sci-fi fiction. Reading has always been more of my thing and more rewarding as far as jump starting the imagination.
J. Hubner: I think there’s a lot to be said about inspiration through the written word. How it works its way into your music I find pretty fascinating. So you’re reading all these books growing up. When does your interest in electronic music come in?
Justin Sweatt: Electronic music was explored in my teen years, especially the Clockwork Orange soundtrack, but it was through discovering industrial music at the record store I worked at that made the biggest impression. My boss gave me a copy of Chris Carter’s “The Space Between” and I’ve been obsessed with that release ever since. I own multiple copies of that album. Skinny Puppy is a huge one, my best friend was always having me check out Front 242 and everything else in the industrial genre from the 80s. We geeked out on it pretty hard. She had an Oberheim synth and we played music together so I was really impressed with everything she recommended.
J. Hubner: It’s great having that one friend that puts you onto bands and artists you’d otherwise not know about. I’ve got a old friend that put me onto Skinny Puppy and Ministry in high school, then Boards Of Canada when we were older. Not sure I could ever repay him enough for that.
Justin Sweatt: I’ve never found anything on my own, I’ve always looked at my friends’ collections for finding new music. Now I just have my friends share their Spotify playlists with me so I can keep up with new releases. There’s a part of me that wishes I could be a tastemaker but it’s just never been my forte.
J. Hubner: So has keyboards always been your instrument of choice?
Justin Sweatt: My primary instrument is drums. High school life was marching band and then I went to college for sound engineering and music. My desire was to be the next Steve Albini but that didn’t really work out. My family isn’t well off so I never had the capital or investors to open a studio like I’ve always dreamed of. The construction of sound and the way records are made has always had an appeal to me. Recording basics was something I learned with a friend’s four track and then started learning how to play other instruments to learn the way each instrument works in terms of composition and sound.
J. Hubner: A lot of the electronic musicians I’ve talked to came up in the hardcore scene. Were you ever in a punk band?
Justin Sweatt: I wasn’t a hardcore kid, I wasn’t any kid to be honest. I played drums in metal, punk, jazz, country, all sorts of different bands. I’ve never been a one genre kind of guy, I’ve always really liked all music. Hardcore is something I love but I was never tough enough for that scene nor was I into being extreme in my appearance. At that time I had long hair, a Black Flag T-shirt, and a pair of jeans. Bands that looked like someone who worked at a janitor’s office were more appealing to me. Even with goth, I love the look but I’ve never been compelled to wear leather, make up, or be outwardly anything other than a black jeans and a t-shirt guy. The only thing that hardcore made an impression on me was be cool, be a part of your community, and it made me pretty radical in my politics. The DIY aspect of that community has always appealed to me but the fast and angry thing not so much, even as a teenager.
J. Hubner: What was your musical life like before Xander Harris? What other projects have you been involved in?
Justin Sweatt: Life before Xander Harris was interesting as I mostly just played drums or did noise duo material. I have played in probably 100 bands but mostly bands that never did anything outside of the area where I was living. All different styles but nothing really in print anymore. Band names like Kosmodrome, Scab Sand Witch, We Can Cut You, Dry County, Bella, Skiesfalling, Red Ox, just to name a few. In Austin I was in a couple of projects before trying to live in Los Angeles last year that have releases coming out. I played drums and synth in a kraut rock band called Future Museums, which is still going strong. Neil, who heads up Future Museums, just put out an album on Holodeck Records (Adam from Survive’s label) that I did some production work on. Holodeck is also releasing a record this year from my friend Nicolas who heads up the project Single Lash. It’s a goth-y shoegaze-y band that I played bass and synths on the record that’s coming out. I’m quite proud of it and I think Nicolas will be one of those house hold names in no time. For Xander history, Nicolas painted the cover for California Chrome and he’s one of the most talented people I think I’ve ever worked with. I miss being in Single Lash but we all have our things we have to do.
J. Hubner: Going thru your discography, from 2011’s ‘Urban Gothic’ to last year’s ‘Termination Dust’, you seem to have evolved your sound with each successive album. You’re not sticking to just a horror/score vibe or straight up 80s dance nostalgia. ‘The New Dark Age Of Love’ sounds completely different from ‘California Chrome’. And ‘Termination Dust’ sounds completely different from ‘California Chrome’. What’s your writing process like?
Justin Sweatt: I try to go out of my way to make each record completely different. Honestly, I love Urban Gothic but I doubt I’ll ever make another record like that ever in my career unless I was hired to do a score in the vein. I don’t really care abut horror scores much these days and it’s not much of an influence anymore. I feel like it’s better to try and grow your sound and push yourself into new territory. Sometimes it works, sometimes it doesn’t.
J. Hubner: Going into an album, do you have a certain theme or concept you want to stick to?
Justin Sweatt: Every time I write I always have about 5 grandiose ridiculous ideas that only make sense to me. Much of the music I write is composed in my head when I’m at work. After my shift I’ll come home, fuss with the notes, the chord changes, the key, and the sound a bit and start tracking but most of it is already stewing in the brain. My brain is always on, sometimes for the better, sometimes not for the best. The new album is all internal narrative and it’s the first one not inspired by works of horror fiction or books in general. In fact, it’ll be the least nostalgic and horror-esque thing I’ve ever done. I was quite happy with California Chrome and Termination Dust so I’m going more in that vein where I follow more my own internal narrative than anything. Termination Dust is a celebration of the author Laird Barron but it’s also a celebration of philosophy of Thomas Ligotti.
J. Hubner: Since you brought it up, let’s talk a bit about your latest album Termination Dust. It’s an amazing piece of work, btw. How did that record come together?
Justin Sweatt: Thank you. The influences for that one are all over the place. I had originally pitched “Carrion Gods” and “Jaws of Saturn” to GhostBox in the UK as a 45 but it didn’t happen. I had put up a couple of songs on Bandcamp during those sessions and made an EP couple with the Carrion and Jaws. Eventually I was approached by Data Airlines to release it on vinyl if I could record more material to make it a full length. I did the sessions for the rest of the album in about 3 days, which is pretty quick for me.
J. Hubner: As far as the sound of Termination Dust, it definitely sounds distinctly unique to your other albums. Who or what were some influences on the overall sound of the record?
Justin Sweatt: At the time of Termination Dust I was listening to a lot of Broadcast, BBC workshop material, Roedelius, Advisory Circle, John Bender, simpler electronic releases that were more about heavy emotion and less layering. I’ve always had an affinity for krautrock so there was a lot of that on the phone soundtracking the walk to work during those sessions. I wanted simple and effective but wanted to mix in acoustic instruments more like electric piano and real bass.
J. Hubner: I love the combination of organic and electronic sound.
Justin Sweatt: The mix of acoustic with electronic is something I’m exploring heavily and in more detail on the next album. People who are really into Urban Gothic are probably going to dislike the next one. It’s a nod of the hat to a lot of different genres, influences, people, all stirred up in my weird stew. Nothing on the new album I’m working on would be considered horror though. Perhaps Drive-esque in parts (and only on maybe two tracks) but it’s definitely going in a totally different direction.
J. Hubner: You recently moved from Austin to New Orleans. How has the change of scenery been?
Justin Sweatt: The change of scenery has been fantastic, I’ve always liked New Orleans and it definitely feels like home. I’ve wanted to live in New Orleans since I was a kid the city has always held a fascination for me. My only wish is that Trent Reznor would move back and help start a crazy electronic scene. Having said that there are some great electronic cats here. Joey from Pressures, who also runs one of the best record stores in America called disco Obskura, has always been here in New Orleans and incredibly supportive. My friend Justin Vial, who used to be in Kindest Lines, also does a lot of electronic work here in New Orleans that is stellar. I recently saw a performance of Andy from Thou and his electronic work is amazing. A friend got me to come out to that and it was a pleasant surprise.
J. Hubner: Austin seems to have a pretty amazing electronic music scene, with Holodeck Records and Mondo located there as sort of flagship spots for all things synth-related. But sometimes a change of scenery is the best thing for re-starting the creative fires.
Justin Sweatt: Austin is a great place but it hasn’t felt like home for a while for a myriad of personal reasons. That’s not a bad thing, sometimes you need to move on in order to jump start the next phase of life and I felt like my time in Austin had come to a close. I’m grateful for the relationships and experiences I have there, the music community in that city is like nothing else. Austin’s music community is a true community whereas a lot of places I’ve been to just view you as competition. That’s the great thing about Austin, and even New Orleans, is that people do give a shit on a human level that is quite rare. There are still ties, I’m part of a cassette label out of Austin called Somatic headed up by my friends Michael and Lee. I do a lot of mastering for the releases and feebly attempt to get PR for the artists.
J. Hubner: So what do you have coming up next? What does 2018 hold for Xander Harris and Justin Sweatt?
Justin Sweatt: I’m working on a new record but I have no idea when it will come out. I’m toying with it being a double LP as I have a lot of songs at the moment in various states that I would like to finish all at once and then decide if I’ll split it up or keep them all together. I don’t know if people’s attention spans are up for it.
J. Hubner: Has New Orleans had an impact on the sound of the next album?
Justin Sweatt: New Orleans has definitely made an impact compositionally, I don’t see how you could avoid it if you walk around and listen. I’ve always been a big fan of old funk and soul music so I listen to a lot of WWOZ, a local radio station here. Watching the drum lines here is fantastic so the city is definitely having an influence on the new material rhythmically and the drummer in me is squealing with joy. The bass lines during the old New Orleans soul days are ridiculous so I’ve been thinking of ways of incorporating some of those ideas in terms of bass lines on the synth with a sense of melody into the new material.
Go check out out the work of Xander Harris, aka Justin Sweat, over at his Bandcamp page. And to keep up on all things Xander Harris, give him a follow on Facebook here.
Who is Xander Harris? I suppose if you’re a fan of Buffy The Vampire Slayer you might think you know who Xander Harris is, but you’d only be partially correct. Xander Harris is the nom de plume of a fictional Joss Whedon character, yes, but it is also the nom de plume of Justin Sweatt, an electronic musician that’s been putting out solidly eerie and seductive synth-layered records for nearly 7 years now. I’ve only recently discovered him but I’m becoming a fan quickly. His most recent LP, the wonderfully dystopian Termination Dust, is a tour-de-force of heavy atmosphere and apocalyptic techno that would be one hell of a soundtrack for the world’s end. Since we’re not quite at the apocalypse just yet, why not delve into Harris’ past musical accomplishments? His 2013 release The New Dark Age Of Love caught my eye so I snagged a copy on vinyl. It’s not quite as dystopian as Termination Dust, but equally compelling and sounds like what would’ve happened had Depeche Mode or New Order delved a little deeper into horror and science fiction instead of the same old love, sex, drugs, and self-hatred racket. But don’t think Harris’ record is that simple to break down. There’s a lot going on. Open your ears and check it out.
“Night Fortress” is the opening salvo and in terms of the more current Xander Harris output it seems brighter. It reminds me a bit of earlier Flying Lotus, but with a Gothic flair. There’s definitely more of a dance floor, techno feel. Umberto with some meat on his bones. It’s a sleek track that grabs the ears right off the bat. “Tristitia” brings things down into more darker territory. More 80s and heavy darkness looming. With it’s steady, driving beat you feel like you’re being transported into some dystopian future. “I Still Look Young In The Dark” is a wonky, frantic track that could be scoring some cyberpunk version of The Picture Of Dorian Gray. It’s frantic pace and use of sound snippets gives the song an almost remix feel. It’s quite an effective track.
Though Harris can use the horror/sci fi vibe in his music with the best of them, he doesn’t rely on horror tropes to sell his work. First and foremost, Xander Harris is a composer. Before it elicits creepy vibes, Harris’ work elicits the desire to keep listening. One shot, sleazy synth tracks are all fine but you’ve really got to separate the wheat from the chaff nowadays. Xander Harris is the real thing. Take something like “Vultures Of Tenderness”, for example. It sweeps in on a pulsating synth line, pulls you in, and then you stick around for the groove. There’s some sleaze in there, but his use of percussive lines keeps you engaged long enough to get to the Terminator center of this music nugget.
Not sure if Harris is a fan of Zombi(the band, not the film), but “Bring Me Their Heads” brings to mind the excellent Moore/Paterra duo. This has a real Escape Velocity vibe. Given that both of these records came out in 2013, maybe there was some weird psychic connection? Only Zenauras, the Psychic God of Happenstance knows that answer. With “Red Sky Sprawl” we’re treated to some deep space dark ambient. This track goes full Komische, Berlin School vibes and I love every minute of it. Simply gorgeous. “When Prophecy Fails” keeps that heady Tangerine Dream vibe going. Think Phaedra scoring Ridley Scott’s Alien, with a healthy dose of some all natural hallucinogen on top.
There’s something very personal about this record. It feels like a young man’s story told in percussive rhymes and syncopated circuits. It is android perfection with a human heart set inside a metal chest. The New Dark Age Of Love is steely, ominous, and alluring. This record is another reason to put Xander Harris at the top of the list of “artists to binge in 2018”.
I try to get in as many great albums as I can throughout the year. I’m always searching for another record that’s going to blow my mind sky high and make me examine the world that surrounds me with new eyes and ears. I am but one man(but with many clones working behind the scenes), so the chances of me missing out on something great the year before only to discover it barely two weeks into the new year are always pretty high.
This new year transition is no different, folks.
I was asked by musician Timothy Fife if I’d heard Xander Harris’ Termination Dust. I’d said not yet and his reply was that it was amazing and that I should definitely check it out. 2017 rolled along and I kept forgetting to heed Mr. Fife’s advice, so about a week or so before we wished 2017 a fond adieu(and a hearty f**k you) I went to Xander’s Bandcamp page and bought Termination Dust. It arrived yesterday and I’ve been listening to it ever since.
Timothy Fife was right. It’s amazing.
I should’ve listened to Mr. Fife sooner, but if I had I wouldn’t have had this great musical surprise at the beginning of 2018. Harris works within a world of mysterious rhythms, slinky grooves, and sunken, eerie melodies. He makes songs that sometime move like techno, but not in a repetitive, undulating dance floor way. They move with purpose. They beckon you into their musical sanctuary. “Jaws Of Saturn” opens like this cross between the Orb and Popol Vuh as they’re scoring some seedy, grainy early 80s horror film. You can almost imagine an opening credit crawl over some faceless person in black as they walk down Times Square back when doing so would’ve required a S.W.A.T. team and a shot of penicillin for protection. Then we move right into “Carrion Gods In Their Heaven” which takes us from gritty city streets into some ethereal world of posh landscapes and dream-like atmosphere. This is simply a gorgeous track that takes 80s electronic sensibilities and meshes them perfectly with more headier intentions. “Oblivion Mode” is total Komische, Berlin School wonderment. Deep space meets deep thoughts by Xander Harris. This is the kind of thick, heavy synth stuff that takes you into that realm where all seems possible and nothing impossible. If Edgar Froese had ever met up with Boards Of Canada they might’ve sounded like this.
Xander Harris may bring up familiar musical vibes, but he’s building a musical world all his own. Take “Frontier Death Song” for instance; it’s all slinky menace and electronic, existential pondering. If Denis Villeneuve is looking for someone to score his Dune adaptation, something like this would fit in perfectly. All mysterious vastness and science fiction dread. It’s absolutely gorgeous and wholly unique. “We Smoke The Northern Lights” celebrates the new world with dance floor exhilaration and sweaty new age enlightenment. “Worms Crawl In” has an 80s Tangerine Dream vibe, Froese-ian warmth envelopes you as you succumb to this track’s hypnotic charms. “Swift To Chase” closes out the album on a deep space feel. Whether he’s using analog equipment or not, this track has the bubbly warmth of classic 70s Krautrock. Xander Harris tips his hat to the titans of mind expansion like Tangerine Dream, Jean Michel Jarre, and Klaus Schulze while modernizing their musical DNA with his own deft touch. It’s a brilliant way to close the record.
Termination Dust is fueled with heavy Komische vibes and heady dance floor aspirations. Xander Harris is a brilliant composer and musician, building worlds within his songs that make listening to the album feel like a tour of some alternate timeline or reality. A timeline where we welcome enlightenment and celebrate the human condition, despite the pain that sometimes comes with that condition. It’s a soundtrack to exploration, both internal and external.