👺Acting/Modeling: @rivussy 
💿DJ: @rivussy 
👐🏾Wu-Tang: Simian Wild 👐🏾
Renaissance Artist
L.B/L.A
Email for Hiring
Would appreciate any donations if you love what you hear!!

@youanalyzeme on instagram

Management@nothingradio.com

Crash Gordon’s heartfelt future pop sinks its sharp hooks into the listener—but gently, with care. We follow this speeding icon between bars and apartments, past night-lit apartment buildings on Harlem River Drive. Crash moves fast as the music’s blurred, beautiful soundscapes, but the singing betrays a sensitivity. Falsetto, bratty sneering, glitchy turns-of-phrase and simmering regret are just a few faces of Crash’s hexahedron charm. We’re left in the music’s dust.

Crash is the culmination of years of searching, gigging and experimentation by composer, songwriter and DJ Max Gordon. At 20, Max decided to leave college on the East Coast for LA, where he worked writing tracks for a noted pop songwriter. Max’s time churning out melodies and rhythms in the factories of the major labels led him to sit in on scores of sessions, for everyone from Justin Bieber to Demi Lovato. And then he shifted gears. His prospects were in pop, he knew—but Max had a compositional background, an improvisational edge and a heart that beat for dance music. He needed to wander on his own terms.

Based in New York City for the past seven years, Max toured the work of Arthur Russell, with whom his music shares a gentle yet precise surface, played with experimental luminaries such as Rhys Chatham and David Van Tieghem, and collaborated with Black Thought, diva supreme Renée Fleming, and beloved actor Ben Whishaw on music for the theater.  He gigged with friends’ rock bands around Manhattan, Queens and Brooklyn in the evenings; late at night, as DJ Liza Minneli, he spun reggaeton, hip-hop and disco for the club scene, learning the ins and outs of hits from behind the decks. 

All the while, Max worked diligently on composition in his Brooklyn bedroom, huddling over Ableton, his beloved keyboard and his guitar. But it wasn’t until death arrived that Crash Gordon began to take shape in his head. In late 2020, he was helping out one of his heroes, noted composer and pianist “Blue” Gene Tyranny, when the undersung genius suddenly passed away. Grieving and confused, Max learned that Tyranny’s vintage synthesizer, the Prophet 600, had been left to him. One of the early MIDI synths with a notably crunchy top-end, the instrument birthed a three-dimensional musical persona. Max filled it out with melancholy Stratocaster, hazy digital filtering and a hiphop-friendly 808 bass. A large part of the music’s spirit, of course, came from “Blue” Gene Tyranny.

Max played every instrument on Crash Gordon. He also created two music videos of songs that appear on the EP, “Randy” and “Done U Wrong.” Crash Gordon breathes an elegant, exact being who nonetheless wears abundant heart and soul on sleeve. The music echoes that of Grace Ives, Toro Y Moi and Caroline Polachek. Yet Max’s creation is simultaneously singular and universal as heartbreak: We find ourselves following Crash’s path through a glittering metropolis of longing. 

Love and ghosts are just out of reach.

Particollective is following