Episode 182 is the sound of a week I spent building a world. The backstage of it, really — the thinking that runs underneath while the hands are busy, all of it equal parts science fiction and fantasy: a desktop that's actually a living map, a spaceship you fly across it, my whole machine reimagined as a place you travel through instead of a screen you stare at. This is the music that came out of that headspace.

It opens in acid — low, hypnotic, F-minor, a hyperspace rise pulling it upward — and then it climbs into drum and bass, 174 and running, a long journey of a track that doesn't sit still. I've had the World Cup on all week, and the shape of a match got into it: the build, the break, the sudden open field where everything breaks loose. There's an arp in here off a patch literally called Atlas, which felt too on-the-nose to leave out. It lands on an ecstatic synth outro, the comedown after the run.

And there's the other thing: this week, when I fall asleep, I've been dreaming in conversation — talking my way out loud through how to build the next piece of the interface, planning the whole thing in the dark. This episode is what those dreams sound like bounced to disk. Living Room Music, from a room that's been half studio and half cockpit. The cover is the world itself — Orbis, the map that became my desktop, seen all at once from above.

Episode 181 is the first one from the rebuilt room. I spent the day moving furniture, hauling the Mac Studio back downstairs, setting the keyboards and the edrums and the mics back where they belong, putting the whole studio back together after letting it sit fallow. And the moment it was standing again, I couldn't not play. This one got made in the small hours, composed and mixed and bounced while the rest of the house slept.

It opens in psytrance, all forward propulsion and acid hypnosis, until a rumbling spaceship cuts across the middle of it, low-end pressure that bends the whole thing somewhere stranger. From there it goes weird: psydub and dub techno, cavernous delay, bass you feel more than hear, everything dissolving into echo and space. Then it lands somewhere you don't expect, a high-tempo chill out, fast underneath but easy on top, the kind of comedown that keeps moving.

You can hear the room in it: a space that was packed away and breathing again. After a month of silence, this is the sound of the gear warming back up and the hands remembering what they were for. Living Room Music, literally, from a living room that just became a studio again.

This week’s episode of Living Room Music began earlier than expected. Morning pages turned into system architecture, which turned into opening Logic Pro X and chasing whatever sounds felt alive in the moment. Starting inside Apple’s new Afrobeat sound pack, the journey unfolded into warmer downtempo passages before accelerating into festival-scale energy, distorted textures, dubstep pressure, and Drum & Bass momentum.

There are traces of Hardwell-style dynamics throughout this mix — tension, release, impact — but the set never stays in one place for too long. Rhythms dissolve into atmosphere, atmosphere collapses back into motion, and eventually the whole thing fades into something quieter and more reflective.

This is driving music. Coding music. Late-night city lights through rain on the windshield music. Music for rebuilding systems in your head while the bassline keeps moving underneath everything else.

Episode 180 is less about genre and more about momentum through changing emotional states. Start to finish, it follows the shape of a morning that accidentally became a journey.

Diving through the crates to pull out samples, I came across as bunch of interesting sonic backdrops to layer into the journey through a drifting meander through the Deep House sonic palette.

I always imagine my podcast is best listened to in a car going somewhere.

I have been thinking about space a lot lately, and especially since the Artemis II rocket took off, but for years. I have also been thinking about philosophies about the many potential universes which are out there. So this week's episode, I present some psychedelic sounds which feel very spacey to me.

Thirty minutes of handmade electronic music in 7/4 time at 150 BPM — a time signature that shouldn't work at this tempo, and that's exactly why it does. This session pulls from dubstep's weight, drum & bass wubs, and psytrance's hypnotic acid layering, but refuses the drop. Every transition is gradual, earned over bars rather than announced with a snare fill. The drums are hand-programmed with riddim tonality, and the textures — Dominator, Dark Edgy Lead, Slow Winding Acid Loop, Dark Gliding Bass, periodic Big Wide Reese — build a landscape that rises and falls like breathing.

Free-form vocals float through the mix, half-buried, drifting between intelligibility and pure texture — pulling your ear sideways just when the repetition might take hold. The whole thing was rebuilt from scratch after a Logic Pro X crash wiped the first fifteen minutes, which means everything you hear was played with the memory of what was lost.

Progressive psydub bass. You weren't looking for this genre because it didn't exist until today.

Listening to music in the car on the way to work, sometimes, just sometimes I have to make an episode of my own driving music. I like the flow, the boom, and the bang. I like the mixed of textures and tones that feels like nothing I have every heard but at the same time like it fits in any set that I could hear at a Summer Dance Festival.

So this week, I indulged and mixed of a treat for my eardrums. There is a fresh set of loops that I was playing with, after I went diving for some new things to tickle my ears with. I am particularly pleased with the transitions, the builds and the drops that I put together.

Say you like it, share it with your friends, and have fun driving in your car, dancing in the bedroom, or where ever you enjoy new music.

This week things ran behind because I was doing lots of watching old versions of Ghosts in the Shell. Then reading philosophy about the Noosphere and writing other things. But I have these thoughts about Memory and Meaning and Identity. I will have more verbose things to say about that in other places. But this is an entry point sonically into that space.

If I have one idea in each episode that is a good thing. If I do anything new or different, that is a good thing. If I make changes that do no bore me, but everything has a very continuous feeling to it, that is also a good thing. I think that this one is a good thing.

This weeks' technical specs:

1. 130 bpm
2. multiple textures and tones
3. B minor