Rose City-based Justin Neal shares “Hollowed” off his Refractions EP, forthcoming on SubSensory Recordings, for a first listen through Peace Portal.
On Refractions, Neal peers back at the mechanized rhythms of his Midwestern roots through the lens of modern dub techno practices. The result is four enveloping and percussive studies on fusing the old with the new.
“Hollowed” in particular is a deep dub techno groove with chords echoing out of subsonic space, shivering textures skittering in stereo, and low end entrancingly pulsing. Classic four-on-the-floor hypnosis.
In addition to the first listen, Justin has shared a few thoughts on the release below. Check out the full release on October 24th via SubSensory.
How have things changed in the studio for you since your original live hardware act in the late 90’s?
When I started writing music , I was using a Roland MC 505 groove box, which included sounds from the 303, 808, 909, 606 and synth sounds from the JV1080. It also had this function called MEGAmix which allows you to internally mix the 7 channels and one rhythm channel to another written part. So I was able to use just the groovebox to play all of my tracks, mixing one channel at a time, dropping out the bass of the first track and then replacing with the bass of the next track, then next the synth leads and rest of the parts. Many of the live pa acts at this time had huge sets ups with multiple keyboard's and drum machines. It was great to have just this one piece of hardware that I could make and perform music at raves and clubs.
So much has changed since then, technology and access have improved 30x 50x 100x from what it was. I also was making music with little to no training or studio time/mentorship and confined to one piece of hardware that I was not hooking up to a computer. The limited amount of sounds available also meant you needed to be creative within those limitations. We have the ability today to do so much more and with a smaller footprint. More people have access to make music than when I was first starting.
Another change is how I write. Back then I would get out my favorite tapes or cd’s and listen over and over to a song to figure out how to make similar beats or patterns or tones to learn the structure of the music/track. Now I can put a track that I like in Ableton and see what’s going and isolate different parts to learn from. I also have days where I spend more time organizing my curated sounds then I actually do writing. I sometimes miss how limiting the MC 505 was, it forced me to learn and also adapt.
What keeps you grounded in your influences while experimenting with new sounds and technology?
I grew up in Indianapolis, which is about a 4 hour drive to Chicago and a 5 hour drive to Detroit. DJ’s, producers, musicians in Indy are influenced by those cities. I was listening to great selections of soulful Chicago house and more raw Detroit techno. Or sometimes the opposite, more soulful Detroit classics and then acid raw jackin’ Chicago techno.
As I continued to explore music from different parts of the world, I discovered the deep techno sounds that emerged from other countries. These influences naturally seeped into my music, adding a new dimension to my sound. By combining the rich musical heritage of Chicago and Detroit with the global influences of techno, I’ve been able to stay true to my roots while embracing the ever-evolving world of music and soundscapes.
What has creating music over the years offered back to you?
Community, sanity, sobriety.
When I first started attending parties and raves in the 90s, I discovered people like me who shared a passion for this music and a deep connection with each other. I yearned to be a part of something meaningful, but I didn’t have a desire to become a DJ, promoter, artist, or break dancer. Instead, I chose to embark on a journey of writing music as a way to find my place in the community and contribute to its vibrant culture. I was fortunate enough to have the opportunity to perform at raves and share my music with others.
However, in the mid-2000s, I stepped away from the scene and stopped writing music altogether. My focus shifted entirely to achieving success in retail, and while I made progress, I couldn’t shake the feeling of emptiness. I acquired turntables and learned DJing, but I still felt disconnected from the community I cherished. When I moved to Portland, I lost touch with my identity and turned to alcohol to fill the void.
Eight years ago, I finally quit drinking and rediscovered my passion for DJing. I decided to immerse myself in the scene and support its growth. This led me to set up my old equipment and invest in a computer for creating music that I genuinely enjoy. For the first time in over 17 years, I was clear minded to write music.
If I had a time machine and could go back and talk to my younger self, he would not believe me when I told him that “Richie Hawtin would not only DJ one of your tracks but also will pay you royalties for playing it.” This past year has been an incredible experience with releases on SubSensory Recordings and Bang Tech 12, receiving positive reviews and compliments from legends like Laurent Garnier and G-Man, and having a track supported by Perc! I’m truly living a dream that I never imagined possible.
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