The Brooklyn-based producer explores our experience as a “detached audience” in the Internet Age.

Eaves is a 20-year-old producer and architecture student, and both pursuits are connected on GORILLA, his forthcoming project for Purple Tape Pedigree.

A mix-album in four movements, GORILLA bounds between the “two digitally-conceived emotional extremes” — the horrific and the pleasant — that are experienced by the internet’s “detached audience.” It is comprised entirely of samples from the online world — Youtube-ripped EDM sample packs, LiveLeak broadcasts and various dispatches from the “dark side of YouTube” — that have been re-contextualized into experimental club music.

Stream ‘Movement 2’ below, and read our Q&A with the young producer. GORILLA is due out on December 18 via iTunes and Boomkat. The record release party — and first edition of Purple Tape Pedigree’s HYBRD experimental club night — is also on December 18 (Friday).

What inspired GORILLA? How did your process relate to that inspiration?

GORILLA came out of year-long writer’s block; the entirety of the music (all four movements) was written in the span of a week, built as one huge Ableton file. It was an exercise in patience for me, in which I moved from track to track very quickly. Constructing sound so quickly forced me to not treat every sound as something precious, but rather a small cog in a larger whole.

The writing process then became a constant recycling, as most of the sounds on GORILLA are edited pieces of the internet, samples downloaded from YouTube or other sources. Moving from tragedy to euphoria in a matter of seconds through our online experience was not only the true way GORILLA was written, but became a metaphor for the record as a whole.

You can go through a video of the Ukraine crisis to a video game review in the span of 30 seconds; emotional intensity gets sacrificed for accessibility. It’s an experience that we’ve historically never had: we are subject to polar opposite content presented to us in the same architectural frame of the internet.

How does your study of architecture interface with your music?

I find electronic music and architecture to be analogous spaces; electronic music has a completely spatial dimension to it. And especially with samples, you can create a space that is wholly built out of sound but never actually enters a tangible physical dimension. Sound has a physical space to it though, it bounces and reverberates – to me, the tension between physical architectural space and immaterial sonic space informs the construction of each.

For example, there’s my apartment where GORILLA was made: its small, confined rooms put me in a mindset that kept me suspended in the space of my computer; and then I would upload the series of tracks I wrote and go outside into the city and listen to them. The feelings that the music gave me in those two spatial contexts is different, and often I would change something after listening to parts of GORILLA not in my apartment. Studying architecture I think gives me agency to be aware of these moving parts and realize how physical space actually enters into the realm of sound.

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