Disintegration C.E. Aims to Fuel What Eric Robertson Calls Dance Music’s Creative Alchemy

After spending a quarter-century creating music largely in the shadows, Denver-based electronic artist Eric Robertson stepped into the spotlight under his stage name Disintegration C.E. in late 2024. His emergence isn’t just about getting his name out there—it’s about joining what he sees as dance music’s endless creative conversation that spans multiple directions at once.

“There was a point about ten years ago in my mid thirties that I kept asking myself.. why are you even still doing this if you aren’t going to share with…often literally, anyone?” Robertson explained. “I couldn’t answer that at first..but I kept asking myself because I was continued to feel compelled to create DJ mixes compulsively almost monthly. Then I realized it was really my way of journaling… sort of cataloguing the things I experience…for myself.”

It’s the kind of artistic doubt most creatives know well. Robertson’s realization that his monthly mix creation was essentially a form of musical journaling—a way to catalog his experiences—became the turning point for his eventual public emergence.

Like many artists, Robertson’s path wasn’t linear. He started out in rock music, wielding a rhythm guitar and lending backup vocals to various bands during his younger years. But his love for danceable music actually goes back even further—he remembers spending his own money in third grade to buy a C&C Music Factory cassette tape. Everything changed when he stumbled into the rave scene at 17—a discovery that would reshape his entire trajectory.

During his time at Pitzer College in Southern California, Robertson and a tight-knit group of friends started DJing together, taking turns opening for each other and throwing weekly gatherings at a converted campus coffee shop called “The Grove House.” It was the kind of grassroots musical community that many artists look back on fondly—intimate, collaborative, and driven purely by passion.

During this formative period, Robertson was exposed to influential artists including Donald Glaude, DJ Dan, Green Velvet, and Groove Armada, along with The Tidy Boys, Jon Bishop, John Kelly, MJ Cole, and Artful Dodger. However, his palette extends far beyond electronic music, incorporating influences from UK garage of the late 1990s and early 2000s, 80s new wave, indie rock, and contemporary trap and drill.

Robertson’s approach to his sound reflects this broader philosophy. Rather than getting boxed into rigid genre definitions, he describes his music as “Techno-Influenced House and House-influenced techno”—which really captures his belief in electronic music’s fluid, conversational nature. He’s all for dance music’s tradition of sampling, referencing, and sometimes completely flipping elements from other tracks. To him, that’s the collaborative spirit that spans time and geography.

His creative process is notably methodical. Robertson typically develops tracks in thematic clusters of three to five songs—what he privately considers EPs, even though he releases most as standalone singles. There’s something almost secretive about this approach, as if he’s creating these cohesive musical statements that only he fully understands.

His catalog includes standout tracks such as “House of the Acid Moon,” “Atlantic Brothers,” “Track for Luigi,” “Sad No More,” and “Valjean (Pay-A-Debt).” Most recently, he released “Weekend Holding” on May 21, which is also getting a remix treatment from Philippines-based producer Ricky Alfian. This followed earlier May releases “The Collapse” and “Hypnautik.”

When he talks about his influences, Robertson gets pretty specific about what draws him to certain artists. Green Velvet earns praise for his “use of mocking intellectualism,” while Nic Fanciulli impresses him with his ability to build “driving energy paired with melodic hooks.” He speaks of Vintage Culture with real admiration—someone he considers more of a contemporary—for maintaining a recognizable tech house foundation while fearlessly exploring different subgenres.

Danny Tenaglia’s mix CD “Mix This Pussy” holds special significance for Robertson. He credits it as the original spark for both his DJing and eventual move into original production. Those kinds of specific, personal musical moments can shape an artist’s entire path.

Looking ahead, Robertson is putting the finishing touches on a new EP titled “Together a Poem,” which he describes as “a tribute to the diverse elements of tech house.” His next single, “A Heart With Holes,” drops on May 29, 2025, and will be part of this upcoming project. For those wanting to dive into his existing catalog, he’s got quite a bit to swim through on Spotify, Apple Music and SoundCloud. Don’t expect to find him on social media though—it’s just not his thing.

Through the unique tech-house voicing of Disintegration C.E., Eric Robertson hopes to inspire what he sees as dance music’s endless creative potential—a constantly evolving dialogue between artists that pushes the genre in multiple directions. After 25 years of creating music primarily for himself, he’s finally ready to see where that conversation leads him—and more importantly, where it might inspire the next generation of artists to take electronic music.