There’s something deeply exploratory about Hugless Dankins’s approach to music. Rooted in a lifetime of listening, experimenting, and learning by doing, his journey moves fluidly between rock, metal, electronics, and hands-on hardware exploration. From early memories of improvised cardboard guitars to circuit-bent keyboards and standalone machines, his relationship with sound has always been curious and instinct-driven. I got to know him better as a musician when I came across one of his reels where he was using my old piano samples, and it instantly stood out to me how talented he is. He can create music with almost any sample while also composing original pieces.
You can listen to Hugless Dankins here:
🎧 Spotify
🎶 Apple Music
🌐 Bandcamp
📺 YouTube
What stands out most is the way Hugless treats music less as a genre and more as a living system, something you step into, interact with, and sometimes even rewire. I wanted to dig into where that mindset came from, how it’s evolved over the years, and what continues to keep the creative spark alive.
How did you first get into making music, and what pushed you to start creating rather than just listening?
I have always loved music. Both of my parents liked a wide variety of music, mostly from their era. I got a lot of Styx, Journey, Queen, ELO, etc. from them. Some disco, ABBA, and Jim Croce from my mom. Devo, Kraftwerk, Mike Oldfield, Andreas Vollenweider from my dad, as well as Rush and Men at Work. I had cousins who were closer to my age that listened to more modern things like Guns N’ Roses and Run-DMC, Beastie Boys, Madonna, and Cyndi Lauper. They were the MTV generation, and I kind of followed along.
My mother remarried when I was 11. My stepfather had a varied music taste, and that opened up a whole other world to me. He introduced me to Pantera, Primus, Dead Kennedys, The Misfits, and The Ramones. I learned about Metallica and Megadeth from him, as well as harder stuff like Morbid Angel and Napalm Death. Having the family and friends that I had growing up, I was also exposed to gospel, bluegrass, and older country music.
From a young age, I remember banging on anything that would make noise. My earliest memories were from when my mom bought a keyboard and learned how to play Groovy Kind of Love by Phil Collins. I also remember riding to my grandma’s house, my dad had Long Cool Woman in a Black Dress by The Hollies on the radio. I really loved the rawness and simplicity of it. Everything was wide open and dirty sounding. It told a story and sounded tough, just great rock and roll. He dropped me off at my grandma’s house, and I found a paper towel tube and some rubber bands and made a little guitar. I plucked that thing all day. I tried my best to play Long Cool Woman in a Black Dress on that cardboard tube. There are so many other memories, but those are the ones I remember from early on.
How would you describe your music to someone who’s never heard it before?
I would describe my music as being electronic-based, but not exactly electronic music, if that makes sense. 🙂
What usually sparks a new track for you: a sound, a feeling, a concept, or pure experimentation?
All of the above. Sometimes it starts with me just hitting a note on the keyboard, or a string of notes, and then I’m completely lost in the moment, sometimes for hours.
Over time, how has your creative process changed compared to when you first started?
I started off playing bass when I was 14. I had some friends in 7th and 8th grade, and their dad got me into bass. When I first got my bass, I just started playing things that sounded cool. I had no theory and no real knowledge beyond what my open four bass strings were. I had a Mel Bay bass book, which gave you some theory, but I got bored and did my own thing. I never took lessons, I just learned as I went along. People would teach me things they knew, and I would try to absorb them and add them to my knowledge.
My process hasn’t changed that much. I am more aware of what I want and how I want to get there now than I was before. I have started looking into music theory more and applying it to what I have been doing. It helps with the process, especially when I hit a random note. Now I know what note I hit on the keyboard and where I might be able to go from there. Otherwise, I play what sounds good to me or what feels good to play.
Is there a recurring mood, theme, or atmosphere that naturally finds its way into your music?
It used to be based on what instrument I played. Bass was more funky and grooving. Guitar may have been more heavy, dark, and moody. With the synths and the other machines, I can get so many other sounds and moods that I don’t feel like I am stuck in one place, which as a creator is a huge plus.
You work extensively with hardware like samplers and keyboards. What does using physical instruments give you that working only in a DAW does not?
I come from a place where the DAW was not an option. A lot of my first recordings were on four-track tape machines. My first experience with any computer-based workstation was a copy of ACID WAV. I started learning how to record and make samples there, that was over 30 years ago now.
I haven’t been playing synths and machines for too long actually, only since 2019. I got my first synth as a Christmas gift, and I’ve built up from there. Before that, I played more traditional instruments: guitar, bass, keyboard, piano. Over the last two years, I have dedicated my creative time to the machines and learning how to perform with them. They’re all standalone, so the advantage over a DAW is that I can see what all the machines are doing at the same time.
The machines have their own issues. There is a lot more to them than just pressing buttons and triggering samples. The learning curve can be challenging depending on the machine. I have been learning how to EQ things and mix them together so the sounds are clear and present when they all play. I’ve also been learning how to sequence everything through MIDI and create more elaborate songs.
To me, the DAW is separate from that. A DAW is for production work and recording. It’s for honing and mastering tracks and turning them into songs. The machines are great for jamming and coming up with new ideas on the fly.
Was there a defining moment that made you say, “I want to make music”?
The defining moment for me was when I was jamming with a friend in my bedroom. We were probably 15 or 16. Neither of us knew what we were doing. We were playing The Distance by Cake. We both hit the same chords, me on bass and him on guitar and it sent the most fantastic feeling through my body. My brain and body lit up like Times Square. Since then, I’ve been chasing that.
Do you have a ritual or habit that helps you get into a creative zone?
No. No secrets or rituals. I intentionally put myself in front of my gear every day.
What excites you most about your creative journey right now?
What excites me most is that I’m more dedicated to doing it. I’m meeting some wonderful people along the way, and I’m inspired by them every day. Most importantly, I’m doing it for myself.
Hugless Dankins’ work is shaped by curiosity and experience. His music feels like the result of years spent listening, experimenting, and trusting instinct. Beyond the music, he openly shares behind-the-scenes moments of his process and offers useful tips on YouTube and Instagram.
Whether through instruments, circuits, or machines, his approach remains grounded in intuition and a genuine love for the process.
Thank you, Hugless Dankins, for taking part in this interview and sharing your creative journey with such openness.
— Spacey Panda
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