This was my first full-length bass music album, featuring Ixchel Prisma's voice, Govinda's violin playing and the live drum work of Norm Cutliff. As the most organic and live of all my albums, it was well received in 2017 when published by Street Ritual records. An entire live stage show with choreographed dancing was built around this album. It was also my first album that was pressed to vinyl. The songs on the album were featured in the sets of many DJs across the world.

The three songs on this EP all charted as singles in the Beatport Top 100 international Psy-Trance chart, garnering critical acclaim from trance DJs across the planet. Here's where I began slowing down from my usual full-on tempo to progressive tunes in the 130s, this release evokes visions of desert landscapes, UFOs, and lasers. The release begins with "Digital Dreams," a chunky set-starter with spoken word poetry samples and soaring melodies that glide like birds of prey over a hard-hitting bass line landscape. Next up is "Ending The Dreamspell," a groundbreaking blend of bass music, trance, and glitch-hop with a positively wacky breakdown. The story ends with "Higher Dimension," a track that tips its hat to the emerging German minimal style.

Starting with a soulful blend of exotic middle-eastern and far-eastern instruments including nay flute, qanun, darabuka and dholak from with dub-influenced backbeats and bass lines, "Prisoner of the Sky" represents the beginnings of my downtempo sound. The other tracks in this EP feature more aggressive beats and sounds. "Mantra Modulation" blends mystic Sanskrit chants with driving psychedelic bass. "Wuzdat Wobble" is perhaps my most urban-sounding track ever released, drawing heavily from west-coast dubstep sounds. "Das Uber Whaumpf" is a blend between heavy metal and dubstep with lots of heavily distorted electric guitar riffs.

On May 1st, 2010, I performed live at the Reed College Renn Fayre, an annual event featuring several stages of music and plenty of unconventional festival activities for students and their guests. This live set features all original material and was created using Ableton Live along with a bit of electric guitar near the beginning.

As my second full-length psytrance album this release represents an evolution of my direction and sound into new sonic territory. Casting off the dark themes he ventured into The Kaivalya Project, I expanded my horizons by starting off the album with a techno track at 128 BPM, Cryptic Mystic. After that, I jumps into traditional full-on tempo ranges with the eponymous Kabbalistic Kazoo, a soaring, uplifting track with an interesting jazz swing bridge. Next up is perhaps Planewalker’s most original and inspiring remix thus far based upon his father’s original song Dancing In the Meadow. Other highlights include Sine Qua Non featuring Planewalker’s original electric guitar work, Bells Of Baphomet presenting vocoded passages read by Planewalker from the Lesser Key Of Solomon, and Under The Sword featuring Planewalker’s chanting and toning work.

This EP was my first internationally-distributed digital release, opening with a sleek and slinky slice of psybreaks before getting down to business. Snarling psychedelic melodies, intricate rhythms, and hypnotizing atmospheres dominate the remainder of this journey into classical psychedelic trance. Prepare yourself for a brain-tickling odyssey in my unique flavor of waveform wizardry!

Recorded live at Esthetic Evolution 2009, this live mix takes a totally unique approach to electronic music. Limited to only four tracks of audio controlled by a tangible music interface of wooden cubes based on the Reactable, I first performed this set at Alex Grey's Chapel of Sacred Mirrors in New York City. Locked at mid-tempo 111 BPM, the glitchy breakbeat performance cycles through the circle of fifths twice, hitting all twelve keys in the musical scale in a harmonic modulation pattern. Each track is named after a string of three loop sets tied to the names of the faces of the cubes.

As my first official release under the Planewalker moniker, this album will always hold a special place in my heart. Produced over the course of a five-year period, the tracks on this album were where my unique style as producer was forged. "Spellbound" is one of my least-known but most-loved songs during live sets. "Delta Waves" was my first commercial release, pressed to 12" vinyl back when all DJs used turntables. "Backwards in Time" became a cult classic in the Pacific Northwest in the heyday of fullon psytrance in the 2000s. While I tried very hard to get a record label to release this album, I am actually very grateful that I never could because now, the rights remain 100% mine.