This a multi-chapter progressive dubstep track I did that relfects a few different ways to interpret the same sounds in the context of three different, commonly found dubstep flavors.  

Zillion - Silkworm

This was made for a friend whose last name directly translates to Moontown, who loves dubstep.  Was going for dubstep with an emphasis on FM synthesis, breaky rhythmic passages, fun with automation, and a sort of cinematic vibe (a shout out at the end to the Good, The Bad, and The Ugly).  Down with presets >> all sounds, save the drum samples = 100% from scratch.  Because it's dubstep, you'll need to play this one at least 100% louder than what you've got it set at.

Zillion - Moontown

The very first track I ever wrote, started this in 2005 and it wasn't finished until 2010.  For the longest time, this track was an overwrought mess of amateur mixing, too many different sections, and general craziness.  It only took me five years to swallow the pride that this track that I was still very happy with required major surgery.  Stuff was cut, remixed, stuff was rewritten, new stuff was synthesized, and it took forever but it resulted in what I feel is the most successful track on the album.  The mission, so long ago, was to craft a mood and melodies that imply awe, reverence, humility in the face of angelic power.  I wanted this track to be a little cutting, and a little forceful, to suggest that it's impossible for us to hear the sound of God.  

Zillion - Angelwire

September actually was written in September, written for the exquisite, very first moment when you feel the rush of autumn, when everything changes: the air gets clearer, crisper, smells better, people get more introspective, and it's time to get out the hoodies.  With this track I also wanted to make the end all be all square synth, the one I always wanted to hear, something like if you sent a Moog into Tron-land.  The track started out as a doodle where I was shooting for old school, major-key rave, and you can still hear some of that in the opening section.  It's the only track on the album that doesn't subscribe to the album's theme of rhythmically and texturally implied melody, something I was shooting for, but I like that maybe because of that it stands as the emotional heart of the album.    

Zillion - September

Propadopolis to Zack Sieger for providing the Rhodes and guitar samples that comprise the main breakdown; pretty much saved this track, freeing my stuck head to come up with the following sections.  This and Escape Plan, for me, are the I wanna get lost tracks on the album, and this is an homage to all the great chill breaks tracks I've heard in my life.  The first section, with the crazy rhythmic synth, was an attempt to capture some of the great stuff you only hear in Japanese electronic dance music, particularly in sound design and chord structure.  The title comes from taking a dip in The Holy Spirit, acknowledging a feeling of spiritual comfort and serenity. 


Zillion - Spirit Swim

This is my tribute to overproduction, too much layering, too much sound design, too much of everything.  I put an inordinate amount of time into this track, probably more time than I should've, but it, for me, stands as the proof-of-concept track for the "implied melody" thing I was trying to do, with many synths making one cohesive rhythmic and melodic line.  I really just wanted to go overboard, and I hope to never put this much time into a track again.  Unless it's bangin.  Then maybe.  Absynth makes a cameo in the sound design here, and the Dragon synth, alone at the beginning, is a personal fave.  Mad love unto you all.  This one's a tich quieter than some of the other tracks, left a little more headroom in the mastering to let the details of the middle section come out.  But that's why you have a volume knob, bang it out yer trunk!

Zillion - Dragon Egg

This one started as a challenge to myself to "break a beat" as hard as possible (without straying into glitchy and experimental).  It came as a reaction to the fact that most breakbeat tracks, be they funky breaks or chill breaks, were stuck using the exact same break, maybe with a little variation here and there.  Hard, funky, chunky, like the soup you should eat witcho grits.  Grits, fam. 

Zillion - Breaker Breaker

This started as a nod to the cheesy spy techno circa the late nineties a la Hackers/The Matrix, and I was listening to a lot of Charlie May at the time, so it slowly evolved into some proggy, trancey breaks thing, because I didn't yet have one of those tracks.  This is one of my favorite tracks on the album, really like just getting lost in the second half.  
 

Zillion - Escape Plan

Funky trance, a purely technical experiment in genre-bending.

Zillion (Brian Burton)