The British producer breaks down the LP.

Let it never be said that Feed Me is shy of a challenge. The British producer got his start in the drum'n'bass and dubstep realms, but has spent the last decade expanding his palette and broadening his audible universe, and his latest LP High Street Creeps proves his place as one of the most diverse producers on the electro-bass scene.

It's cinematic from the start. A muffled sound and becomes progressively clearer, as if one was deep underwater, swimming to the surface. It breaks into clear synth tremors and builds a bright tension with complex percussive textures. It's a feat of sound design, a dynamic, three-dimensional exploration of noise.

It represents a lot of growth as the accomplished producer explores new modes of creativity, pushing himself to try deeper grooves and analog approaches. His recent tour with buddy deadmau5 influenced the LP in various ways. There's house, complextro, and even elements of indie rock throughout, with plenty of electro-bass shivers as Feed Me uses the album to explore nostalgic moments of his own career.

We caught up with the British bass lover to get the inside scoop on each of its 10 tracks with the exclusive track-by-track breakdown below.

"Perfect Blue"

I started writing this specifically as an entrance point. The chords and sounds came from the aspect to aspect sounds and spaces often depicted in much of the old anime I love. To me, it's industrial and neon; I was trying to capture the feeling I have riding through unknown cities when touring; to and from venues, airports, hotels.

"Shimmer"

There's a certain feeling of suddenly being in a vacuum that you find in techno which I love, especially when DJing. Playing extended techno sets on the deadmau5 tour really opened my eyes to this, and this is one of the tracks which that inspiration led to,

"Sleepless"

This was almost entirely produced with my Eurorack modular, which is something deadmau5 switched me on to and helped me construct initially. It's a new sort of focus to be composing largely away from a screen, and also to be recording information that I can never strictly replicate again. It's an attempt to capture the space between anxiety and excitement, for me at least. I sometimes struggle with which of the two I'm feeling.

"Feel Love" Feat. Rosie Doonan

I heard Rosie's vocal in the most obscure setting, and couldn't stop thinking about it. It was a big process to locate and bring this track together, but something that proved really rewarding. Production-wise, it was a case of trying to bring as much support and justice to the vocal as possible. It's a nice challenge to not try and force center stage, but play for enhancement.

"Barrel Roll"

There's a lot of techniques and processes that more or less define how I began working as Feed Me in this track, and I wanted some threads of my own nostalgia and dealing with time to run through the album.

"Till The Wheels Fall Off" Feat. Graham Fink

Writing in LA and Beverly Hills was a surreal experience. I met Graham, and this track came together really organically. It's a painful cliche, but it seemed to write itself. I really enjoyed the experience. Graham is tremendously talented while also being very vocal and enthusiastic to work with. It's a high point to capture a feeling you're going for so accurately with someone else.

"Satanic Panic"

This track feels very self-indulgent to me, which I guess is why I do this at all in the first place. I think it's sort of a tour of all the individual components that excite me about producing, from [the] synths used to the way it's engineered.

"Pumpkin Eyes" Feat. Chaney

I started with guitar here, just in search of something warm and affirming. I had a decent framework going which I liked, but it really came to life when working with Chaney. There's a dreamy aspect to a lot of the artists I listen to which I think he really understood. It became its own animal.

"Own Ghost"

I'm a huge fan of science fiction, particularly cyberpunk material, and it often influences or presents a reason to write to me. A theme of electronic information, instruction, and a bit of collaboration with machines was the target.

"Defiant" Feat. Lindsay

Lindsay is a close friend of mine, and we'd last worked together a long time ago. Rounding out an album partially focused on memories and nostalgia in an extra nostalgic way really felt appropriate. I also wanted to capture the scale and dynamics of live show elements in how it builds and breaks.

High Street Creeps is out now on deadmau5's label mau5trap. Explore its sonic intricacies below.