Born to two professional musicians, Releaux enjoyed immersive exposure to nearly all genres of music from an early age. A timely introduction to the pioneering sounds of vanguard electronic artists including Wendy Carlos, Vangelis, Jean-Michel Jarre, Tomita, and Kraftwerk led to a lifelong fascination with synthesis and finding new expressive possibilities not only through musical composition, but within the textures of sounds themselves.
Working nights and weekends as a club DJ and “live remixer” in the 90s, Releaux developed a deep love of house, techno, funk, and electronica. Following an after-hours introduction to The Orb and Brian Eno, he gained a passion for the free-form sonic vocabulary possible in ambient music. Finding this radical departure from traditional song structure liberating, he began writing a great deal of music that was contemporary ambient in approach, while calling back to the more structured progressive electronic of the 70s and 80s.
It would take another twenty years to release his first album, a delay he attributes to risk-aversion. “I had big creative ideas, and was recording a great deal of music, but couldn’t seem to leave the safe path. I stayed at my day job, got an MBA, kept doing the ‘right thing,’ and I was good at it. But I recognized that I wasn’t happy and needed to shake things up.”
Since 2017, Releaux has released two full-length albums, including Phage, the gritty sci-fi soundtrack for the award-winning independent short film Soul Undertow. Recently, he scored the independent thriller, Gridlock Lullabye, and is currently scoring the forthcoming video game Bomb Sworders. His third album is currently in production as well, slated for release in 2023.
*Pronunciation: Rhymes with “hello”