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.
‘Hypnautik’ by Disintegration C.E.
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.
‘The Collapse’ by Disintegration C.E.
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.
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The first thing that hits you about Siren isn’t just her voice—it’s the sheer audacity of someone who taught themselves everything. No formal training, no music theory classes, just pure instinct driving her to create something that sounds like Rammstein got into a late-night conversation with Lana Del Rey while Massive Attack played in the background.
At 24, this LA-based artist has already written around 70 songs, most still unreleased, sitting in her vault like secrets waiting to surface. Born June 13, 2001, Siren started making music in 2019, and what’s emerged since then defies easy categorization. Her sound pulls from trip-hop pioneers like Portishead, the industrial weight of German metal, and the cinematic drama of Tchaikovsky—yes, the Swan Lake composer.
“Every ache must be turned into art,” she says about her approach to music. It’s this philosophy that drives her self-described “raw confessions where melancholy meets beauty.” Her mezzo-soprano voice shifts between whispered vulnerability and soaring intensity, creating what she calls “cold waves of sound that mesmerize like a siren’s voice in the night sea.”
Siren
The artist’s journey started unexpectedly early. One of her most vivid childhood memories involves her grandmother singing Russian folk songs on a winter swing—an experience she describes as “blue, cold, wintry, dark, nostalgic, deep, soulful, and melancholic.” By twelve, she’d discovered Rammstein, which she credits with awakening “strength, courage, resistance, and the spirit of a fighter.” The band shaped about 60% of her musical taste, while Lana Del Rey, who she calls her “musical mother,” opened up the other side of her artistic personality.
What’s striking about Siren’s work is how she balances opposing forces. She describes her music as reflecting both her anima and animus—the feminine emotional vulnerability paired with masculine instrumental drive. This duality shows up everywhere in her sound: acoustic piano meets electric guitars, string arrangements collide with rock drums, trip-hop grooves support orchestral swells.
Her latest release, “Devil 2019,” dropped on August 3, 2025, running 3:28 and showcasing her hypnotic vocal control. But it’s just a taste of what’s coming. Her debut single “Siren Heroine,” released on June 13, previews her upcoming album “Blue Blood,” which promises an oceanic, siren-themed concept drawn from songs written three to four years ago.
Siren
Beyond music, Siren works as a visual artist, filmmaker, and photographer, creating her own visual concepts exactly as she imagines them. She admits to both loving and fearing the ocean—thalassophobia mixed with an obsession for deep blue imagery. “I reflect what I fear. I am what I fear,” she explains.
When asked about dream collaborations, she mentions Hans Zimmer, Rammstein, and Lana Del Rey—though she notes that most of her musical heroes are dead. Her approach to creation remains uncompromising: “I don’t write for people—I write for myself. Music is how I let you know me.”
JJ Tyson’s path into music started the way most teenagers’ dreams do — with a drum kit at 15 and some high school friends ready to jam. What’s happened since then reads like a rock autobiography that nobody saw coming.
The Pennsylvania native, who proudly notes his home state produced Poison, Halestorm, and Live, spent years drumming for popular local bands before stepping away for two years to write his own material. That break changed everything. When he reconnected with a former bandmate and released “Walk Away,” the song exploded online, racking up over a million views and birthing Black Water Greed.
“The popularity skyrocketed,” Tyson recalls. “Magazine covers, interviews — it all happened fast.” But success brought its own complications. Internal tensions split the band apart, leaving Tyson at a crossroads.
Rather than retreat, he pivoted. Working with producer David Mobley, he created The Tyson-Mobley Project, an album that performed well enough to convince him solo work was the next step. Four solo albums followed: “Back from the Ashes,” “Digital Mine Crime,” “The Other Side of Me,” and his latest, “Cellar Dweller.”
Released August 1st, 2025, “Cellar Dweller” doesn’t pull punches. The 18-track album stretches over an hour, diving into trauma, betrayal, and personal demons with the help of studio band Crosswindz and co-executive producer Mobley. Songs like “Unleash the Rage” and “Haunted Hallways” tackle isolation and survival head-on — no sugarcoating, no easy answers.
But here’s where Tyson’s story gets interesting. While “Cellar Dweller” delivers hard rock intensity, he’s simultaneously working on his second Christian album, “Army of Faith,” due late September, plus a Christmas album featuring 12-14 original songs scheduled for November. It’s a range that would give most artists whiplash.
The reason becomes clear when Tyson talks about his fans. “I write meaningful lyrics that have touched a lot of hearts,” he says. “Hopefully my message can help them cope with issues they may have.” He shares stories of listeners who’ve told him his music helped them through breakups and toxic relationships. One fan said he “wrote her life in five minutes.”
Looking ahead, there’s talk of touring in mid-2026, though for now, the focus remains on perfecting the music. His message to fans mixes rock attitude with spiritual conviction: “I love my hard rock roots but I love my messages I put in my Christian songs, to spread the word of God to the world. This world is falling apart and we need to pull together and love one another.”
His advice for others cuts through the typical music industry noise. “Just do your own thing and what makes you happy — it reflects on your fans, and they are the ones that make you or break you. Stay focused and loyal.” It’s the kind of wisdom you only get from someone who’s watched a band implode at peak success, rebuilt from scratch, and discovered that authenticity matters more than any genre boundary. The guy making rage-filled tracks about personal demons is the same one writing Christmas songs and Christian albums about bringing people together.
What stands out is how he treats fan loyalty as a two-way street. They’re not just consumers — they’re the reason he keeps pushing boundaries between hard rock and worship music, between anger and healing. When someone tells you your song helped them leave a toxic relationship, that changes how you approach your craft. Tyson gets that. He admits it’s been a long road, crediting the right connections and people along the way, but ultimately his message stays consistent: stay true, stay focused, and remember who you’re really making music for.
Fort Worth’s music scene has always been diverse, but Turo Rose is carving out his own lane with something different entirely. For the past three years, he’s been developing in own unique interpretation of what he calls “chill emo rap” – a sound that prioritizes emotional honesty over the braggadocio that typically dominates hip-hop. The independent artist recently started performing live and is working toward bigger exposure, with a Dallas show coming up in November and an upcoming album called “Demons” set to drop December 2025.
What makes Turo Rose stand out isn’t just his sound, but his motivation. Born and raised in Fort Worth, he’s struggled with his own obstacles over the years, and through music, he aspires to help others get through theirs as well. We caught up with him to talk about his journey, his approach to hip-hop, and what sets his music apart.
How would you describe your music to someone hearing it for the first time?
I’d describe it as chill emo rap. It’s not what you’d expect from most hip-hop coming out of Texas, but that’s kind of the point.
What do you hope listeners get from your music?
I hope they get the emotions from my music and that the vibes help soothe their own negative thoughts. I’ve been through a lot, and if my music can help someone else get through their stuff too, that’s what matters to me.
Was there a moment that made you realize you wanted to take music seriously?
Yeah, there was a point in my life where I felt like I lost everything I built. I was weighing my options in life and I already had a hobby with practicing my vocals and creating beats. After I saw some of my songs were getting high streams compared to other friends of mine that made music, it boosted my confidence up a little bit. That’s when I thought, maybe I can actually do something with this.
What’s the story behind “Message 2 You”?
Message 2 You I created as a farewell to my ex girlfriend. We had spent 7 years together and it was my first time being single since high school. It was rough, man. Writing that song helped me process everything.
How did growing up in Fort Worth shape your mindset as an artist?
There’s many different types of artists in Fort Worth. But when it comes to hip hop/rap, they mostly tell the same stories or rap about the same things. I wanted my music to be different and have a new take. Instead of rapping about guns, drugs, and violence I wanted to be on a more personal level with my audience. That’s just not my story, you know?
What can fans expect from your upcoming album “Demons”?
My newest album will have a more party style, sexual, fun vibe to contrast my older music telling more of a sad feeling. My personal favorite track from the album is called Demons as well which is why I decided to name the album the same. It’s going to show a different side of me.
Final Thoughts
Where authenticity often gets lost in the pursuit of viral moments and industry formulas, Turo Rose represents something refreshingly genuine. His willingness to be vulnerable in a genre that often rewards posturing suggests he understands something many artists miss – that real connection happens when you’re brave enough to tell the truth. While he’s building his career one song at a time, his approach indicates he’s not just chasing trends but creating something that could outlast them. That kind of artistic integrity, combined with his growing streaming numbers, positions him as an artist worth watching in Texas and beyond.