1SEC After Dark: Experimental Pressure & Percussion at CHKNDRUM

NOLA EDM: For those meeting you for the first time — who is 1SEC?
1SEC: 1SEC , my stage name, is a project focused heavily on experimental sound design as the core of the project. I started the project back in 2020 and have slowly curated a sound that I’m proud of. My production journey started back in 2016 writing beats for local rappers, but I knew even at the beginning that I would want to dig deep into making bass music, so around 2018 I started working in Serum, the primary synthesizer that I build my sounds in. From that point on I was completely hooked not only to sound design but production in general. There’s something so special about being in that creative space, it’s a rush.

NOLA EDM: CHKNDRUM events are known for high-intensity, percussion-driven sets.

What drew you to this lineup, and how does your style fit into the energy they curate?
1SEC: Well, for starters it just looks like a great time. I don’t live in New Orleans, I live about 2.5 hours west, so I’ve never been to a CHKNDRUM night but I’m very excited to experience the culture of this event. I think my style, lately, has focused a lot more on the percussion side of production, and I’ll be using this event to showcase a ton of originals, IDs and WIPs that I’ve been sitting on for the past year or two.

NOLA EDM: Your music leans into dark textures, hypnotic rhythms, and heavy atmosphere.

What kind of vibe can people expect from your set at this upcoming show Are you leaning more experimental, high-energy, or somewhere in between?

1SEC: While I do agree that my music generally sounds a bit dark, I think it is fully dependent on how I’m feeling when I start writing. I have a hard time pinning down a genre, but I think the music generally leans towards Trap and 140, usually a blend of the two. One thing is certain; I try to keep it high energy. People can expect to hear some remixes they can sing to, some originals I’ve released, some unreleased originals I’ve been sitting on, and even some current WIPs I’m working on with my producer homies.

NOLA EDM: Where does your sound pull inspiration from?

Any artists, genres, or non-musical influences shaping the direction of 1SEC right now?

1SEC: My music tends to ebb and flow with what’s relevant in the scene but I make sure to keep to my roots by making the sound design something truly unique. It’s tough being genuinely interested in so many genres that are hot right now, because ultimately, it does have an influence on my music. I don’t think that’s a problem, I certainly like to keep up with what’s fresh. Some artists that I always seek inspiration from are known for their trap / experimental sound. Guys like Dank Frank, OkayJake, VCTRE, Chee, STVSH and Jon Casey to name a few.

NOLA EDM: Are you preparing any surprises for this set — new edits, unreleased material, or energy shifts you’re excited to test on a live crowd?
1SEC: I absolutely plan on bringing out all of the originals. I want people to hear what I’ve been cooking, and there’s a lot of it. I’ve got some UKG, Dubstep, 140, Jungle ,Trap, and DnB ready to showcase!

NOLA EDM: What do you hope people walk away feeling after experiencing a 1SEC performance?

Whether it’s emotion, movement, intensity — what’s the takeaway you aim to leave with the room?
1SEC: I legitimately just want people to enjoy their time during the set. I have put some serious effort into my art and seeing people having a good time is the driving force behind a lot of this project. At the end of the day, I make music for myself, I have a healthy relationship with my studio and honestly, just working on a track makes me happy, but seeing others enjoy the music adds a whole new layer to the experience for me. I remember listening to Coki and Skream when I was 10 years old, falling in love with the sound of it all. I was too young to care much about the scene; it was all about the sound. I remember hearing some tracks as a kid and making notes on what I would do differently, and that’s not a stab, I think I was just building the scaffolding I needed to get into production from a young age, and that framework is still largely how I produce today. I love the energy, I love the scene, and I love the people building it up, but for me, it’s all about the sound.