I have a new collection of unreleased, instrumental, and remastered tunes coming out on February 13, 2026, called Electronic Adjacent Instrumentals, 2010-2024. On November 17 of this year, I dropped all the stuff that had been previously released in one form or another on elevenseventeen.bandcamp.com.
These tracks trace a musical evolution over 14 years. I started eleven seventeen in 2004 after the dissolution of my first band. Back then it was a singer-songwriter outlet, but a preoccupation with production was already blossoming. I liked the process of recording, experimenting with sound, using production as an instrument, and melding the organic with the electronic.
Though it didn’t start as such, within a few years, eleven seventeen became a platform for me to exorcise my emotions, which I often did in an uncomfortably frank manner that was not kind to others. I had learned from my late ’90s/early ’00s punk/emo influences that art was about expressing frustrations with other people, usually people with whom the creator was romantically entangled. I looked up to those musicians because the sounds they produced struck a chord within me, and I mistook the rawness with which they expressed themselves for integrity. It took me too many years to understand that all too often, by imitating those artists, I was really just being an asshole.
Luckily, a parallel interest was threading itself through my music sensibilities at the same time. Beginning with the short ambient instrumental “I Said What?!” on 2010’s Home EP, which I created after accidentally discovering and becoming infatuated with delay feedback, I began crafting instrumentals for the sake of playing with texture, arrangement, mood, and all the impressionistic possibilities of sound.
That interest in music for the sake of composition and production, and not as a platform to air grievances lyrically, has so far evolved across 15 years, six cities, three countries, and two continents.
It makes up 40% of the tracks on 2013’s Eastward Expansion–and those tracks have been remastered on Electronic Adjacent Instrumentals.
2022’s Last actually began as a series of instrumentals–and Electronic Adjacent Instrumentals captures those instrumentals in their original form.
The rest of Electronic Adjacent Instrumentals, 2010-2024 is made up of tracks that are either unreleased or were only released previously in very different formats. There’s a looseness to the most recent material–I’ve become interested in manipulating infinite delay feedback loops in real-time, and it’s yielding some wild results.
Ultimately, I’ve come to understand eleven seventeen as the record of my lifetime journey with music. That’s why I’m not starting a new project, or deleting my old recordings, even the ones that even I find harsh and unfair to others. Erasing my musical past, blemished as it may be, feels inauthentic. (Not that music has to be authentic, but the premise of eleven seventeen is.)
It’s also why I’m releasing this collection, as a record of how things have evolved, and where they’re headed.
I have no doubt it’s somewhere I can’t predict.
Read and hear more on bandcamp and the Instagram post where I made the 11/17/25 announcement.
11:17 