These tracks relentlessly force you to count to 10! or 5! or 20! It's fascinating." --RandomPunterCaleb Bird, aka Biobird's latest EP, "Count to Ten", showcases a further exploration into the 5/4 time signature, a beat structure which Caleb has been experimenting with for quite some time. In his previous releases on Section 8's sister label, Section 8 Bass, we've noticed a progression of Caleb's sound, from 70-174 bpm tracks in multiple time signatures, a sound which we've decided to graduate and put on the front-line of Section 8's infantry.Caleb's goal with these tracks has been to push the boundaries of the current meta of dubstep and DnB."This EP has been my biggest boundary pusher yet. Popular electronic dance music seems to always be in 4/4, and so I wanted to try and make some tracks that people can still groove to, whilst being in an odd time signatures."Each track in this hard hitting, 5-track bundle reels you in with distant atmosphere and bass vibrations which escalate into a frenzy of drum edits, ominous melody, and fast-paced beats.Caleb says Biobird started when he branched out into composing electronic music, which was a pivot from his time in high school composing pieces for guitar and other acoustic instruments."The ability to create your own instruments in electronic music, to build the guitar first and then play it, drew me in.. and then years of expermenting lead me to create the sounds I was after."Caleb's influences from culture and art are wide but most notably he mentions, Mik Gordon, sound designer of award-winning video games like DOOM, and the infamous Hans Zimmer, who's best known for his integrating electronic music sounds with traditional orchestral arrangements in many films like Bladerunner. Also bands like Radiohead, Gojira, Meshuggah, and even Slipknot are among the mentionable influences early on while cultural influences include Maori, Norse, and Flamenco music which has influenced the scales and pitch arrangement in Caleb's music.This is just the start. Caleb plans to continue experimenting saying, "5/4 seemed to be a good middle ground to start from and the DnB had the tempo that fit it the best. Having a steady flow is critical in dance music, so people can focus on doing their thing, not have to consciously keep themselves in the groove. I experimented with different time signatures and tempos and found that. I found that anything below ~160bpm the phrases would drag too much. With this decided, the main challenge of the EP, would be to create grooves that are clear and easy to follow. This in mind I set out to create tracks that were unique and danceable.