Me, I’m Counting is set to release his new EP titled ‘MACAU’ tomorrow (August 20th). While the titled track builds that slow grind of musical suspense it drives forth into what you would think to expect of ‘MACAU’ the EP. What you actually find, however, is a set of distinctive soundscapes showcasing different parts of the mind. Is it the mind of Nick (a.k.a. Me, I’m Counting)? Is it what your mind is interpreting? That’s the beauty of music. It’s, in the end, inside the mind of the listener. ‘MACAU’ is an electronic jazz session. A free-for-all with you having a front row seat. Sonic theater for the soul set to various b.p.m.s and mood sets. Get out of it what you will. That will say more about you.

Check out our other features with Me, I’m Counting HERE.

About Me, I’m Counting

Me, I’m Counting is the alias of Nick Williams, an electronic musician from Durham, NC. He uses hardware samplers and analog synthesizers to reflect a world hovering between technological sublimation and environmental collapse. The convergence of the natural and the mechanized images for a heady musical elixir…and sometimes you can dance to it. His music draws heavily from techno, synthpop, shoegaze, IDM, psychedelic rock, and kosmische; he’s as likely to find inspiration in Flying Saucer Attack or Spiritualized as he is in Audion or The Chemical Brothers.

In 2008 Williams co-founded Durham’s pleasantly infamous club The Pinhook (listed in a recent Pitchfork piece as one of the 36 best clubs in America) and immediately threw himself into the local music scene. He played in the lauded post-punk group Free Electric State and shambolic psychedelic band Prisms before fully chasing the electronic dragon.

Williams set the Me, I’m Counting project in motion during the unnerving early days of COVID-19 lockdown, which inspired a few singles and a stylistic crystallization. Trapped in lockdown, Williams also felt trapped in his own mind, reflecting on past experiences-travel, clubbing, playing music and seeing live shows, relationships, existential fears, and spiritual joy. His aim was to create something out of the tension and chaos caused by the pandemic. That’s where MACAU truly came to life.

Williams explains:
“About ten years ago I was visiting my sister and brother-in-law while they were living in Hong Kong. Close to the end of my trip, we decided to take the hydrofoil to Macau and wander around its strange coalescence of cultures. It was about 105 degrees, and midway through the day’s explorations, I started to feel very weird. We ate some hybrid Portuguese-Chinese cooking in an alleyway and had a few beers in a dockside karaoke bar, and I tried my best to enjoy myself even though it was becoming very clear that I had a high fever and was on the verge of dropping where I stood. I finally told my sister that we had to go home and she steered me onto the hydrofoil back to Hong Kong. After the long expedition through unfamiliar streets and mind-bending heat, the ride back to Hong Kong felt like being carried along on a cloud of pure air conditioning.”