Well, everything we can tell you so far….
The title and the track names shall remain anonymous. And there’s good reason… Xilent’s got some seriously cool plans at play for the roll-out.
But here’s what we can tell you: it’s out in May, it was written in four different countries over three years and suffered a serious technical meltdown during the painstaking final stages.
Oh, and it BANGS.
Whether you love Xilent for the sprightly D&B he first emerged with, his blistering pixelated electro or his quirky, funky-flexed boss waved dubstep you’ll find heaps for your ears to chew on across the 15 tracks.
Here’s what we could find out from his at this stage…
How long has this taken, then?
I started writing it in 2012. That was in Edinburgh, Scotland. I moved a lot from country to country… I spent a year in England, a year in Spain, where I did most of the album, then moved back to Poland and finished it. It’s been a three year journey.
Have those locations had different influences on your sound?
Yeah I’d say so. The tracks reflect my mindset in particular places. In the UK I laid the grounds for the album with the intro – ‘Connect’ – along with more serious tracks – ‘Is There Time’ and ‘Infinity’. Spain was very positive and mind-opening; I was in a great place, by the seaside. I wrote ‘Revolution’, ‘To The Future’ and ‘Chemical’ there actually. ‘Pixel Journey’ as well, which is not on the album, but it’s a good representation of where I was at mentally. Then I moved to Poland and got married so I was even happier. I finished the album off with ‘Animation’… which, with the help of Diamond Eyes’ vocals is easily my happiest, most positive tune ever.
We can call the album a concept, can’t we?
100 per cent. It’s something I’ve always dreamt of. I’ve always wanted to write an album that’s a proper adventure. Something that you keep hearing different things in every time you listen. Something that takes you to different places. The total opposite of a straight up 12 track collection of dancefloor tracks. For example, the first track has the same chord progression and melody as the last track, but a different instrument. Every track is connected to one another to create a seamless loop when playing the album continuously. There are some subliminal messages in there too, but you have to be quite attentive or have some fun with spectrographs.
I have no idea know what that is…
If you view a track on spectographer it produces blue to red spectrum from 0-22000hz. Sometimes, if frequencies get skipped or amplified on purpose they could form lines or circles or text.
Deep! That’s attention to detail…
There’s still more to come when it comes to the details, but you might have to wait for a limited edition physical version of the album on CD.
This is why I’m not allowed to mention the name of the album?
If we can try and avoid it, yes please!
I think that helps for the mystique. But we can talk about some of the tracks, right? I’m really feeling the co-lab with Five Knives!
Thanks! Me too. They were actually one of the only acts who I’ve remixed and have never asked for re-do. So I have a special place in my heart for them. Plus they’re awesome! I knew the singer could deliver and she’s gone for a really ballsy, screamy vibe which works so well.
Any real challenges during the process?
Yes, a bit of a technological challenge! Usually I write a tune in about three days, then spend about two months trying to fine tune the real nitty gritty details of it. When it came to the whole 15 track album, everything has to be equalised and sonically streamlined for consistency. This is no mean feat when you’ve switched computers halfway through the project; different samples and templates and everything. I’ve spent the last months trying to fix those tracks – half of the raw projects for half of the tracks on the album were lost because of the switch and the hard drive couldn’t access the old files anymore. So I had to mix and fix half of the album’s tracks without having raw, unmastered audio to work with. So I pulled my hair out A LOT during this.
Well that sucks…
It did, what made it worse was I’ve been on tour and heard loads of really inspiring music but I couldn’t take those inspirations and add little bits or new twists to the tracks because they’re bricked. It’s a sad note and I definitely learned my lesson, but I’m very happy with how it’s ended up and how the album sounds as a final product. I’m really looking forward to showing it to everyone!