Deantoni Parks spent much of his career leading from the shadows. After many years of drumming in some of your favorite bands and canonical progressive acts of several different decades (Flying Lotus, John Cale, The Mars Volta, Lenny Kravitz, Sade, Bosnian Rainbows, Kudu, Marc Ribot,…), Parks has decided to step out from the shadow of his drum kit and assert himself as a distinguished and fresh voice in electronic music. If you simply hear Deantoni Parks’ newest record, Technoself, you’ll be impressed with the selection of beats and samples that exist somewhere between a club and a sentient computer. But it’s in the live setting that you realize that it’s beyond Parks merely “pulling it off” with super left-hand chops playing a small guerilla kit and his right hand playing a synthesizer, simultaneously. It’s just how involved his awareness of detail is, juggling mind and body to create a real future music. “The sound result of Technoself is a digestion of beloved sounds being refined, filtered, and re-arranged in the time period of the average thought,” says Parks, who describes the sound as “segmented, split-second curated soundscapes atop a highway of refined, war-drum rhythms. Technoself is me fighting for a connection to music history.” The ambition on Technoself is staggering, particularly given the technical limits that Parks has imposed on himself. As an exercise in musicianship and high-level conceptual art, Technoself is masterful. Very often his drumming, like in the songs of Squarepusher and Aphex Twin, sounds as if a robotic percussionist is on the verge of short-circuiting. But, listen and watch Parks, and it becomes apparent that he can do things that machines could never dream of—if, of course, they could dream. He also expanded the technoself method for his latest releases, the scoring of the soundtrack for the Nicolas Cage and Willem Dafoe movie Dog Eat Dog as well as Deanthoven, where he channels the music of Ludwig Von Beethoven.