Little is known about the anonymous producer known as “The Amazing Doctor Tentacles.” What people do know is that his base of operations is in Dallas/Fort Worth (in his own words, as its “premier EDM darkwave supervillain”) and that he has 20 years of electronic music production experience. Through those years, he often worked under the radar and under various pseudonyms on a multitude of projects and now-defunct weblabels.

He only surfaced on social media as of 2021 when he began to release singles on a monthly - and sometimes even weekly - basis. He abandoned DAWs after years of use in favor of drum machines and live synthesizers for his “creepy banger” sound.

His genre is as odd and stitched together as his pressed-suit steampunk look. On the Fringes of Sound said his style “pushes the limits of genre combinations … Incorporating pieces of drum and bass, chiptune, and even hints of dubstep … and gives a very hectic feeling as it switches tempos and rhythms on a whim.” His beats are kinetic, heavy and bring what reviewer Lars Haur has often called “SNES boss battle energy.”

Puls8 Radio (formerly Only Human Radio) described his music as sounding “like tentacles wrapping around” the listener and that one “wouldn’t want to listen to it in bed at night.” His bizarre synths rarely fail to wiggle, morph and transmogrify as they pulse like hallucinations through his productions. He isn’t afraid to show his synth patching chops on his Tiktok and Instagram. In Spring of 2021, he began a microseries of music shorts showcasing 100 Days of Synths on Tiktok and later invented “synthbombing,” a practice of dropping in on musicians with unsolicited synthesized duets, for better or worse. He also began releasing a 100 Days of Grooves series in December of 2020 which focus on miscellaneous groovebox demos.

While he is often quiet about his background, he has often cited musical influences on his social media that include Aphex Twin, DJ Shadow, Mr. Oizo, Akira Yamaoka of Silent Hill fame, Throbbing Gristle and The Residents. His song titles, usually far too long and the nemesis of clean-cut metadata, often touch on themes ranging from cannibalism to human organ trafficking to his own experience with abuse and many other sci-fi and horror themes. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.