Q. Good day, TwoFace Crane! We appreciate you taking the time to speak with us. The first thing we want to know is, how would you describe your sound to someone who’s never heard your music before?
A. I would describe my sound to someone who’s never heard my music before as a high-concept, cinematic “System Overload.” I describe it as Wu-Tang meets the Gorillaz, but operating through a glitching digital purgatory. The sound moves through two distinct atmospheric modes: Ghost Mode (Purple), which is melodic and haunting, and Stalker Mode (Green), which is aggressive and high-tension. It’s the sonic output of a cycle where an 8-foot digital entity known as The Engineer harvests the energy of the world and transfers it directly into my heart.
Q. Is there a specific song in your catalog that you feel defines who you are as an artist? Why that one?
A. A specific song in my catalog that I feel defines who I am as an artist is called “Glass.” This track defines the breach. It is the moment where the melodic purple energy and the violent green energy collide. It represents my role as the architect—taking the raw, chaotic power provided by the engineer and building it into a structured world. You can hear the scripted tension; it’s more of an attraction than just a song.
Q. If you could collaborate with any artist, living or dead, who would it be and why?
A. If I had the opportunity to collaborate with any artist, living or dead, it would be The RZA. I have immense respect for the way he built the Wu-Tang universe from the ground up with an uncompromising vision. I’d want to see how his gritty, basement-born production would interact with the engineer’s digital lighting. I also consider Adrian Thorne a collaborator; his departure from this world is the reason my music exists today.
Q. What's the biggest risk you've taken in your career so far, and what did you learn from it?
A. The biggest risk I’ve taken in my career was deciding to remain fully independent to protect the integrity of the 1994 Breach. I’ve walked away from industry gatekeepers who didn’t understand that this isn’t just a music catalog—it’s a franchise. I learned that you cannot let people who only see “standard” music manage an 8-foot entity. If they can’t see the scale of the world I’m building, they don’t belong in it.
Q. If this interview was the last thing someone read before listening to your music, what would you want them to know?
A. If this interview was the last thing someone read before listening to my music, I would want them to know that we all feel like garbage sometimes, for whatever reason or circumstance that’s happening to us, but to keep your head up—you can’t have light without the dark.
