In this interview, Radical Man unpacks the architectural precision and controlled chaos behind “Power Systems,” exploring rhythm as design, tension as momentum, and the balance between experimentation and accessibility.
1. “Power Systems” feels architecturally precise yet constantly on the verge of collapse. How did you approach building that rigid rhythmic framework, and at what point did you decide to let it destabilize?
The initial framework was built with arpeggiators. Additional rhythmic and melodic lines were drawn in and were later broken up with automated subtraction. The first and second sections were contrasted by their instrumentation and melodic parts and for the middle breakdown, it felt like it was time for a left turn to a third section that could simulate a destructive moment where the first two sections might collide.
2. Your project is rooted in the tension between structure and chaos. Do you begin with strict rules for each composition, or does the friction emerge naturally as you experiment?
There aren’t typically any self-imposed rules, sometimes I’ll get inspiration for a particular approach to begin with but for the most part I am following instincts as the track develops.
3. Instead of a traditional drop, “Power Systems” leans into repetition and controlled mutation. What draws you to evolution over climax in your arrangements?
That seemed like the direction this particular song wanted to go. I wasn’t out to chase anything traditional, it was more of a process of seeing what direction things wanted to go and then framing it up at the end.
4. There are clear echoes of IDM and leftfield traditions, reminiscent of artists like Clark, Daniel Avery, or even Radiohead’s Kid A era. How have these influences shaped your sonic language without defining it?
I think that kind of electronic music has a lot of possibilities for exploration. I appreciate when the sounds and composition are more on the strange and psychedelic side of things but I also enjoy straight up pop. I think those artists walk an interesting line of being experimental while still being accessible.
5. You describe rhythm as architecture rather than genre. Can you expand on that idea? What does it mean to “design” a track structurally instead of stylistically?
To neatly fit in a genre box there is typically a well defined rhythmic structure that already exists. I have taken to building tracks by experimenting with different approaches to rhythm and letting the genre its leaning towards emerge as things get put together.
6. Each Radical Man release explores a different configuration of controlled friction. Where does “Power Systems” sit within your broader artistic trajectory, and what new forms of tension are you interested in exploring next?
I’d say that’s true of many of the tracks but not all of them as a rule. This track has a more quantized energy to it compared to the others as it was more programmed and the other songs are more performed with instruments and controllers. Though the end of Power Systems does have live recorded acoustic drums and slide guitar, it was mostly done on the grid with arpeggiators and programming. The tracks coming down the road probably have a more organic and performed sound to them, though I’m sure that some more rigid elements will emerge here and there. I guess as far as tension goes the convergence of making sounds that are weird yet accessible is a good zone to shoot for.
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