I've written a lot of music (most of which isn't fit for public consumption!), but this album has only ten songs, all of which were previously released in a different form. And, for those of you who have been listening to Soundstatues for a long time, you'll even notice that the title Inhumanize has been used before.

So what's up with this album, then?

The history of Soundstatues is probably worth noting here. I moved to New York City in 2007, and I formed several short-lived bands. I'd begun self-producing my bands' recordings, and some of those early demos are still floating around the internet. But my audio engineering skills were.... lacking. And the production therefore sounded pretty terrible.

Once I went off on my own and formed Soundstatues, I resorted to programming drums using samples, rather than working with a live drummer. The reason for this is simple: I was broke. Paying a superlative drummer for session work just wasn't an option.

Over time, my audio engineering skills progressed (and I became less broke). And then Soundstatues went on tour in Taiwan in April 2016, with the fantastic Nat Boda on drums and Wes Wu on bass.

It was only a two week tour, but I was fascinated at how these songs were beginning to morph themselves into a more natural form. A few fills here, some accents there. For example, the clapping section on "Nightmare Mouth" came about because audiences would clap along to that song when I was on tour.

When I came back home from touring, it occurred to me that I really should record my existing songs in a better way. So, I scraped together some ancient analog recording gear (some of which was broken, requiring me to fix it), found an awesome drummer (Hampus Öhman-Frölund), and we hit Marlborough Farms studio-- which is actually a basement in a house.

I wanted to recreate the live-feel I was getting on tour. I wanted the recordings to sound a little rough, like you're listening to a band in a dingy-dirty-scuffy room (one of the primary microphones for the drums was actually placed in the laundry closet!).

I think I've pulled off a lot of what I set out to do with this album, which of course I could not have done without all of my amazing collaborators.

And once the album was taking shape, I realized I had the perfect album cover: a picture I had taken of a native girl who was standing in an oasis in Peru. She somehow embodied the spirit of the music completely.

So take a listen, share the music around, and I hope to see you on tour!