All Ages presents itself as an, in Senni’s own words, “internal revolt.” In making use of vocals for the first time and breaking from his previously self-imposed limitations, Senni uses the spirit of hardcore to fuel his enthusiasm for the future, and to re-engage more tacitly in the music-making process.
Across his discography, Senni has worked to reframe trance. In the five years since Scacco Matto, Senni has worked to strike a balance between an elevated career in dance music and a creative approach based in DIY counterculture. As part of this, he sought to produce tracks that created a more intimate relationship with his audience. His studio time moved towards reading, painting, and playing live drums, and listening to bands like Snapcase, Satanic Surfers, Godspeed You! Black Emperor, At The Drive In, and Ramones. Gradually, Senni turned away from intricate concepts he had been exploring in earlier releases — the delayed euphoria of pointillistic trance, the insularity of rave voyeurism — and towards experimental electronic music inspired by the immediacy and efficiency of hardcore punk.
On lead single and album opener “Art Life & Skateboarding Ft. Chad Muska and Jamie Thomas”, Senni brings together his childhood heroes — Muska, the renegade former partyboy, and Thomas, the straightedge figurehead — in a tense but affirming dynamic. “They have opposite characteristics within something I love, skateboarding,” Senni says. “It makes for a beautiful encounter.”
Through the 11 tracks of All Ages, Senni finds common ground between the sounds and scenes that he drew from most in theory, but kept apart in practice. Vocals are live and direct, with guest appearances from iconic American skateboarders Chad Muska and Jamie Thomas, and Jamie Stewart of experimental indie rock band Xiu Xiu.
Sonically, melodies — “the most essential element” — are simpler and sharper, drawing from trance and hyperpop. In the studio, Senni worked between a piano and a small selection of his favourite synths, the Roland JP-8000 and SH-101, to create emotional, looping melodies with as little ornamentation as possible. Basslines and percussion are upfront in the mix. The tension of his past work — of waiting for the euphoric drop that never comes — is transformed; on All Ages, that tension is active and upfront, powering the tracks forward.
“In electronic music, there is a lot of modulation in between parts, like a teasing,” Senni says, “but in hardcore, it’s three drumstick strikes on a snare, or a strum of a bassline, and then you’re straight into it, you know? The lights in the room are on. Everything is visible and everyone commits to the action quickly.”
Rather than stretching time in such a way that it creates a passive, voyeuristic experience of the music for the listener, Senni focuses on high-intensity bursts, with sharp breaks and tuning pauses. “Time feels short in hardcore because it is short,” Senni continues. “That is beautiful and interesting to me because it feels like you are claiming reality back. There is a tension between what we want to do and what we’re able to do — which is a tension about who we are.”
Together, they’re All Ages — a title that references the openness of the all ages door policy of American hardcore punk shows. “It’s an idea that allows anyone to take part in a scene in their uniqueness,” Senni says. “I was one of those weird kids, a straightedge drummer at drugged-out gabber raves, but I was also accepted. That way of including people inspires me and has been key to feeling comfortable in who I am.” With All Ages, Senni works towards a harmony in the tension between his past and present self.