Music To Die Alone In Space To, the newest project from Buffalo DJ/electronic producer Spruke, is a wildly imaginative concept album that places its’ listeners at the forefront of a celestial narrative. Narrated by an astronaut who has been untethered from their spaceship and set adrift in space with an hour left to come to terms with their situation, each track conjures a unique frame of mind that follows the narrator’s journey through “different levels of consciousness.”

“It’s one of those ideas that just stuck with me since I was a kid and I learned about the laws of motion for the first time,” said the artist. Determined to create a sonic departure from the more energetic forms of music that define his DJ endeavors, Spruke attributes his inspiration to “yearning for a sound where you’re patient and you let things take time to happen, you don’t make a million noises just because you can.” Also citing ambient music pioneer Brian Eno as a direct influence on the project, the producer born Bill Boulden shifts from electronica, to mellow house, to open-ended, atmospheric sounds throughout the tracks on Music To Die Alone In Space To.

The record introduces a fresh concept of individualized distribution as well, with it’s Kickstarter campaign serving as a platform to ensure that each person who pledges will be allowed to choose from narrators of different ethnic backgrounds and genders to personalize the immersive experience the album suggests. What initially began as three voice actors, a British woman, a Hindi woman, and a South African man, has led to an open forum for the project’s backers to choose virtually any type of identity they wish to accompany the album.

“When Hollywood gets a product like this, everybody gets a Midwestern American man in that role, people want to hear themselves reflected in the album,” says Spruke.  In addition, six different versions of the album’s cover art are available for the listener to choose, with more to be revealed as the project continues to gather support.

Currently there are 81 copies of the project produced in a nondeterministic manner, meaning each of which were made with random inputs controlling the tracks sound design so that the musical patterns remain the same while the sounds within them vary. No two versions will unfold quite the same way, an effort by the artist to “bring exclusivity back to music.”

With the standard copy of the record expected out this November, and custom copies expected in April, Spruke has set the stage for a work that bridges the gap between listener and artist, demanding an active experience rather than casual passive listen.