A 2011 mix sketched the outlines of his adopted terrain: Rustie, Untold, and Joy Orbison on the one hand, and Drake, D'Angelo, and Missy Elliott on the other. Inspired, he has said, by both James Blake and Lex Luger, he set about attempting to connect those worlds with a cat's-cradle of pitched-up vocals, chiming keys, diamond-cutter snares, and clickety-clackety hi-hats. Clockwork fit the profile of an EDM main-stager: he bootlegged Avicii's "Levels", dealt in crowd-stoking mashups ( Wolfgang Gartner's "Nuke" with the White Stripes' "Seven Nation Army", for instance), and harnessed the usual array of atom-smashing snares, roller-coaster crescendos, and supersonic whoosh.Īround the same time that he first signed to Dim Mak, Steinway began exploring a different sound under the alias RL Grime. For a time, he was known principally as Clockwork, a maker of brash, energetic electro-house for labels like Steve Aoki's Dim Mak and Diplo's Mad Decent. The budding career of a 23-year-old producer named Henry Steinway is exemplary of this shift in dance music's politics.
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