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According to the artist:

"I've found that I only make good music if I'm experimenting. Usually, if I try and make 'dance music' specifically, I end up doing something too conventional," says Ulysses, explaining his compositional process. Whatever he's doing, it's working: "How Does It Feel to Feel," the record's opener, features low-slung basslines and synthesizer blasts that sound like jets flying overhead — the other Doppler effect. A techno tune that isn't particularly concerned with techno's rules, it’s a slow 121 bpm — which, paradoxically, makes it feel heavier than faster-paced techno cuts — and spaced-out, barely-there vocals give it a ghostly (but human) touch. "Object of Interest," the record's second track, runs at a similarly slow pace but feels slightly less demented, intensifying the atmosphere created by "Feel to Feel" and priming it for peak-time.

"The Mascara Snake” is the quintessential B-side sleeper: a moody, melodic synthpop slow-jam that sounds like Duran Duran on some very high quality psychedelics. On a record by a lesser producer, a track like this might feel out of place. On Feelings, it sounds completely natural — the perfect melancholy counterpoint to its primary techno energy.

Ulysses goes on to explain: "I feel like the line between techno and 'experimental music' is a thin one. You can make the weirdest, most 'out there' sounds and as long as it has a pumping kick drum — you can call it techno." That philosophy has been part of The Bunker New York's ethos since day one, and it's precisely what makes this record so inspiring to us.