Category Archives: High Dude

My musical journey as High Dude.

Elsewhere EP


Support on Bandcamp

I think both tunes come at a point in my life when I was forced to accept the idea of working for the capitalist society. At the moment by being a teacher for the French state, which is something that goes at the opposite of my view of what real knowledge is and how education should be lead for children’s life, and at the extent, adult’s life (knowing should lead to doing.) I try to conciliate my own thoughts and vision of the world with State’s schools, which are places where most indoctrinate the youth with the capitalist ideology (and the neoliberal doctrine), or a place of “miseducation”, as Malcolm X expressed in his own time.

So ‘Prone’ is about being forced to incline to a higher power. But there’s a duality because you could prone for the capitalist and dominant society, but you can also decide to fight against this ideology, which lead ‘Prone’ to also be understood as some kind of predisposition (the “artistic destiny” in art’s aesthetic) of some people in every society, a group of individuals than can and will deconstruct traditions and ordinary views of the majority in order to achieve, for humankind and/or themselves, a greater view, a greater purpose and a greater meaning to life than just being a tool in the Machine.”

In regards to Active Sleep, I wanted to express the idea that when I’m out of my little bubble (alone or with like-minded people), I feel kind of trapped in a society I can’t accept as it is, surrounded by people that think too differently (which as, for me at least, a lot to do with the power of capitalist’s ideology). So when I have to go out of that bubble, for example by going to work, I’m in some kind of ‘active sleep’, I’m some sort of ghost, just here pretending I’m the same as people around (but they and I both know it’s not really the case). I want to be that ghost to protect myself, and I’m pretending to act normal but deep inside I’m fighting against the structure I’m in and the people that decided to accept that structure for what it is (so basically not changing anything in that structure and in themselves). I’m sleeping with those people because they aren’t giving good food to my brain; I’m sleeping in those capitalist structures because I understand them and my thinking go further than those pre-built ways of thinking. So I’m active… active in this forced sleep. I stay real to myself, I listen to my own thoughts and my inner identity and I refuse to let this society and zombies dictate to myself how I must think and behave.

The fact that there’s no snare on that tune’s rhythmic expresses the idea that I go to those places and see those people without (most of the time) interacting with them, without trying to “attack” them ( = the snare in a composition – there’s only one snare in Active Sleep) with my different thinking and their own build truth. I can be myself with my students, but I see most adults as dead people because they killed their inner child and creativity and I have no time to waste (at least that’s how I see it now) to try to “save” them.

Ethnofusion [INTERVIEW] High Dude – Withstanding EP with VALE

Direct link to Ethnofusion’s blog

Long-time Outtallectuals collaborator and overall dubstep rebel, High Dude, released a new EP through the dastardly dark VALE crew, tackling emotive and introspective realms of deep 140 music. High Dude’s signature foleyful sound is highlighted in these 4 tracks, however it was the two tracks, Shaman’s Weeping & Artless which caught the ‘ethno’ focus. They have High Dude departing from his majorly abstract sound into a more melodic direction, with a much more overall defined and polished techy sound.

Knowing that he always has some mad-meta details to his releases, we caught up with High Dude to dig deeper into this EP’s details. Here’re some thoughts we exchanged back n forth:

Q. What was the concept behind the title ‘Withstanding’?

The overall concept of the EP was to talk about being in a higher state of consciousness and growing in a different way than the one promoted by the dominant capitalistic ideology (which is a slavery system and had nothing to do with growing up). This is a common paradox for artists as they are somewhat idealistic, and with the understanding that ‘music is pure love’, they want to transcend their imagination of how the world really is and help to shift that paradigm.

Meanwhile, music and art in general is almost like a personal diary for an artist, and I believe this dialogue with the self helps for personal development and becoming honest to oneself, subsequently helping people to develop empathy. If you lie to yourself by not being true to yourself, you are likely to lie to others as well. It is this contagious acceptance of who we are that helps us become a part of the opposite of a vicious circle… a righteous circle perhaps?

I have a similar feeling towards the poetry I write and its power to accept the deepest feelings within myself and help to accept others’ emotions.

Q. What prompted the more melodic approach with this EP?

A. Previously, my aesthetic approach to music could have been described as ‘anti-melodic’ experiments where I used abstract sounds without any catchy melodies for the listeners. At some point, I got to the argument that music can’t be defined to require melodies so the average listener could demand whether this even counts as “music”. At the same time, I also didn’t want to just put 3 notes and consider a basic melody as a good one, and my main focus was on technical production. I have now reached a point where I feel confident about what I’m doing technically, and I want to incorporate more melodies into my compositions.

I can also perceive my evolution as an individual in my releases. I remember my mom hearing one of my early releases, ‘State Interests’ and asking me if I felt OK, as I believe my existential depression cycle was quite obvious for some in the non-melodic side of my music. Now, I feel to have a better comprehension and acceptation of myself and that may be noticeable with the more melodic aspects of this EP.

Q. Can you tell us the backstory to any of the songs on the EP?

Artless exemplifies overcoming a sense of naivete; this song was composed last summer after the final breathes of a 6.5-year relationship, yet we had to live together for a month after the break up. During that time, I realized how artless I had become, and after a one-month dark period of acceptance when it finally ended, I produced this track in a 1-week session, using the naïve introduction, hard scratchy drop, introspective bridge and sorrowful melodic acceptance sections in the track.

Q. Can you tell us a little bit about your academic background? I know that you are studying a PhD and teaching?

A. Yes, I’m studying a PhD on Hip-hop History and its social, political and philosophical evolutions from the US across the globe.

I was teaching Middle School children for a while; however, my radical methods of teaching were not accepted in the conservative education mechanism provided by the State and I wasn’t able to continue on this path. For example, I don’t think there is a need for kids to always raise their hands and for the teacher to need authority through his hierarchic position to get respected. I believed in honest conversation and respecting each other as equals which seemed to work very well in class as well. If my students felt like painting or being creative in the classroom, I was completely happy to allow this to happen, because I know they could follow the class at the same time, however this was not OK according to the capitalist state rulebook on education (or indoctrination).

I believe this is a weakness of authoritarian people who are usually depressed because they don’t feel that they can achieve control without hierarchical authority and want to deny kids from asking the right questions. This clash of my anarchist critics and the bureaucratic system in classroom politics is kind of representative of my wider critical system as well.

Q. Any final comments?

A. If I would have one message in my music it would be: “accept who you are or you will wake up n find yourself dead inside (still maybe that is only my perception)”

Withstanding EP

Support  on Bandcamp 

Track 1. ‘Artless’ is a deep, dark piece weaved with organic and eastern sounds, reminiscent of endless pilgrimage into desolate desert nights.

Track 2. ‘Epicenter’ darts with uncertainty and frantic pace in pursuit of the very core of the system itself. Uncertain of what resistance lies ahead, the only option is to push forward.

Track 3. ‘Inscape’ portrays a sense of urgency consumed by an inability of action. Every plausible direction is disconcerting, creating an immovable network of conformity.

Track 4. ‘Shaman’s Weeping’ manipulates thoughtful strings and delicate reverberation to paint an acrylic image of fractured yearning. That very moment when all hope seems secured by a single, fragile thread.

THE RUST Article on Withstanding (EN)

Awareness (VA) by VALE

Listen & support the compilation

Mastering by: @detmusic
Artwork by: @altitxde

World Autism Awareness Day is upon us, and we are thankful to have a talented group of artists come together for the sake of giving back to the special people in our lives. 100% of the proceeds from this project will go towards raising awareness for the community via Autism Speaks. Thank you all for the support!

“When you go to your stereo and turn on the tunes and all is working well with the speaker wire, then the sound is sweet, crisp and clear. You hear what the artist and producer intended for you to hear — and it’s a good and pleasant thing.

However, if your speaker wire has a short in it, if it’s frazzled by a fray, then things might not go so well, and a clear connection could be lost.

There are moments when that frayed wire may be in the perfectly placed position to still allow really solid sound to pass through. In that moment, the music is coming through loud and clear and you get to enjoy the groove.

But then something shifts — even just a little, and suddenly that worn wire produces static (and maybe even sparks). The music’s still there, but with it is another competing noise — a sharp and crepitating noise — a noise that’s taken something pleasant and made it painful.

All of a sudden something shifts again, and everything has gone from simple static to overwhelming and excruciating white noise. In the chaotic cacophony you find yourself reaching for the volume control in order to mute the mess because it hurts.

Then things shift once more and the frayed wire is now in a position where nothing’s getting through. The connection has been lost and all is silent. The stereo itself is still making a melody, but that melody is trapped inside the machine and unknown to anyone on the outside.”

“The Frayed Wire” by Lori Sealy
Published via “The Mighty” 04/21/2016


Ac-Tone x High Dude – Traumatism (Warpball Project with Outtallectuals)

The Untz premiered our track ‘Traumatism’ and talked about the Warpball project:

We’ve been importing a ton of our neuro, halftime, and psybass from the international set, of late. In line with that trend, the long-standing Outtallectuals brand has a brand new compilation coming out soon. Warpball ties into an indie video game of the same name (check out a beta here:, and in order to capture and convey the time-warp, glitched out aesthetic, Outtallectuals had to call on its most revered band of off-kilter sound design maniacs. Enter Mr. Bill, Halfred, Hullabalo0, Duffrey, 5AM, and more. The cream of the crop of psychedelic audio warriors assembled a wild collection of trippy tunes that bring the game to life. We’ve selected a pair of French producers to debut today with “Traumatism,” the brainchild of Ac-Tone and High Dude. Glitchy, wandering, and fragmented blips of ephemera shimmer and gleam in the fractaled outersphere of this otherwordly tune. In a word, it’s mesmerizing, as if its sole purpose is to draw you deeper and deeper into the Warpball world, which, I suppose, is the task of any video game composer. These artists are new to us, but consider our interest piqued for them, the comp, and the subsequent Outtallectual releases.

Morrison – Terra (High Dude Remix)

My remix of Morrison’s tune ‘Terra’ is out now on Ironshirt Recordings!

You can support me or the other artists by following this link.

Here’s a nice review from Juno:

Kiwi duo, Morrison, are back on their native Iron Shirt Recordings with another killer selection of stealthy, ninja-like dubstep fort those who like their flow cold and peppered with meditative sonics for the late night sessions. “Terra” and “Formation” are the two cuts in question, both tunes which have enough weight beneath them to blow your speakers out; stealthy, cerebral and deeply moving, these are bad, bad tunes that recall the best of Mala’s Deep Medi imprint. Sick Cycle’s remix of “Terra” goes even deeper into the wormhole thanks to an additional pounding of bass, while Dubmentalist’s version staggers more on the dub end of the spectrum through hefty percussive shots and sporadic Rastafari melodies, which leaves High Dude to provide some downtempo goodness on his own take – probably the best remix of the three. Recommended.

[OUTTA030] Third release with Outtallectuals!

Lck & myself worked on this tune in Bordeaux two years ago, and it’s finally out! You can grab your copy for free on Soundcloud.

Outta’ review: “Heading into winter and emerging from the darkness that is the constant media shower today, High Dude and Lck hit the Outta sound waves with this signature deep textural bass, portraying a mirror of society, observing itself.”

Баxтак review: “Personally, I’ve been struggling to keep away from the media, news and all this political bullshit that’s projected into my thoughtscape. Every time I realize that I’ve lost my focus again due to the above, I shake my head, take a deep breath and get back to what I was doing. I feel like this song portrays exactly that: The subtle use of atmospherics, switching between news channels, and all these layers of information are suddenly stopped by the blasting drops of bass, prompting the listener to concentrate on the deep groove within, rather than the surface distractions. It’s crazy how an atmospheric instrumental track can respond to our emotions in such an intricate way. I guess that’s how you can tell it’s good art.”