Phidippus is back with a new album called "The Ghost." It's a rich and emotionally powerful work that cements his place as a true master of modern music. The 10 songs on the album last 44 minutes and 55 seconds. It's a statement from an artist who has mastered his craft and is still growing.

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Phidippus is no stranger to making an impact; he has nearly 3 million streams across various platforms and has appeared on TV shows like Anthony Bourdain's. But The Ghost feels like a new beginning for him as an artist. It invites listeners into his world of rhythm, introspection, and sonic storytelling.

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Phidippus shows both the weakness and strength of the human spirit in songs like "I Don't Wanna," which is infectious and vulnerable, and "Water," which is immersive and meditative. Every song feels like it was crafted with care, drawing on years of production expertise and a desire to experiment with new ideas. The end result is a record that is cohesive and hauntingly beautiful, and it stays with you long after it ends.

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Phidippus demonstrates this with "The Ghost," showing that great music never fades. It transcends time, style, and what people expect. Fans of real, story-driven soundscapes will love this album because of how he mixes experience, humor, and raw honesty.​​​​​​​​​​​​​​​​​

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​Earmilk

11/2025

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 next release has quite the story behind it.

Electronic producer Phidippus is back today with “The Ghost“, an extremely personal and sonically adventurous album born from recovery, reflection, and resilience. Written during a turbulent period marked by injury, hospitalization, and mental health struggles, the record captures an artist rebuilding both body and mind through sound.

After years experimenting with AI-generated vocals and pop-leaning production, “The Ghost” marks a return to more organic creation for the veteran producer: a balance of emotional honesty and electronic precision. Half of the album dives into liquid drum and bass, a genre the artist has loved since the late ’90s, using its restless pulse to mirror the chaos and catharsis of healing. Elsewhere, deep house and hard techno influences emerge, reflecting shifting moods and a refusal to stay confined to one sonic lane.

With 40 years’ production experience and several impressive sync placements in his resume (including Mercedes, Smirnoff, and even a placement on an Anthony Bourdain show), Phidippus is now looking to test the boundaries of electronic music. “The Ghost” rejects electronic music’s current homogeny in favor of raw experimentation. It’s an album that revisits pain while transforming it into movement, memory, and meaning. Definitely check this one out.

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​Magnetic Magazine 

11/2025

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Wow… The Ghost by Phidippus is really something else. From the very first note, it draws you in and refuses to let go. The album is the perfect blend of pop energy and dance-floor magic – shimmering synths, catchy hooks, and beats that get you moving instantly. But it’s not just entertainment; some moments are quiet and emotional, giving you space to feel, reflect, and really connect. You can tell that Phidippus has put himself into every track, and it makes the listen feel personal, as if he’s talking directly to you.

What I love most is how alive this album sounds. Phidippus‘s voice is warm, lively, and completely full of character, each song brimming with emotion and charm. The production shines without ever feeling overloaded, and the way the track flows makes it impossible to stop listening. The Ghost isn’t just an album – it’s an experience: uplifting, moving, and pure joy for anyone who loves music that tugs at both the heart and the feet.

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music-evoloution.com 

11/2025

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The past year has been rough for Phidippus. With mental health struggles, hospital stays and recovering from a car accident shaping his day to day life. Throughout this time, music was his only escape. Even being stuck in nursing homes didn't quell his need for music, working on songs and remixing old tracks with AI vocals giving him a sense of purpose and also fun during a very difficult time. With 'The Ghost', he has mostly moved away from AI with only a couple of tracks carrying that influence. The rest of the album is very much hands on production, live instruments and mixing in the way he has done it for decades. The album is half drum and bass. Liquid, heady, experimental and reflecting his love for the energy and variety the genre allows. The rest of the album wanders through deep house, hard techno, pretty much whatever suited his mood at the time. He’s never content to stick to one style, and that has made for a very interesting mix. The Ghost captures ups, downs, reflection, and the triumphant feeling of finally being stable while looking back at everything he’s been through.

Phidippus has been producing for forty years, put out club singles since 1998, been on labels, on radio, on shows like Anthony Bourdain, nearly three million streams. He knows what he’s doing. Still, the album is messy in places, experimental, eclectic, exactly the way he wants it. This album is all about resilience, curiosity, and following music wherever it goes.

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musicnewsmonthly.com

11/2025

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The result of a forty-year sonic voyage, Phidippus (born Eric Salazar) makes his latest album, The Ghost, both the climax and the new beginning. Having almost three million streams under his belt and a history of television sync-licenses and club singles dating back to the late 1990s, he comes to this release as both an old school veteran and an impatient experimentalist. Following a life-changing car crash, a traumatic brain injury, and a long struggle to stay sane, Phidippus directs the raw material to the theme at the center of the album. After establishing a reputation for pushing the limits of electronic music through its restless, unstagnant nature, The Ghost comes as a fresh awakening — a meditation on loss, perseverance, and the discovery of self through sound. It is not another addition to his catalog; it is a proclamation of survival and artistic liberation, bringing listeners into his realm of rhythm, self-reflection, and musical narrative. Getting deeper into the work, The Ghost, we can hear ten tracks tracing a landscape of trauma, healing, experimentation, and electronic energy. The song list includes songs like Aligning, Alone (AI Vox Redux), and others like "City Lights", "Water", "The Ghost Aghast", "Prodigy", "Stay Right By My Side", "I Don’t Wanna", "Funkatropic", and "Blade Dancer". The production is pure and organic, like each layer of synth, percussion, and ambient wash is a feeling re-emerging in memory. The liquid drum and bass tracks dance with movement. "Aligning", and "Water" pulse with hypnotic hi-hats and rich basslines that recall emotional release, and "The Ghost Aghast" hits with darker undertones and sharp snares that reverberate anxiety turned rhythm. Conversely, "City Lights" is characterized by a more meditative beat, layered with old-school pads and analogue warmth. "Stay Right By My Side" shines with its soulful vocal hook, whereas Blade Dancer smashes into a cinematic catharsis of arpeggios and kicks. The tension is relieved by Funktropic's funky bass grooves, which highlight Phidippus’s fun-loving nature. There is an oblique sense of AI-assisted vocals in the song “Alone (AI Vox Redux),” which gives the air of ghosts of digital humankind, fitting the album’s title and overall mood perfectly. All his tracks are crafted but natural, and they hold on to his ethos throughout life that electronic music can serve as therapy and experimentation. To sum up, The Ghost is a masterpiece that not only demonstrates Phidippus’s technical skill but also his determination and spirit as an artist who transforms pain into art. This album is a reminder that, in an age of foreseeable electronic productions, experimentation in its purest form — risk, imperfection, emotion, and transcendence — blended into a single unified statement — is truly what this album sounds like. The lack of trendiness by Phidippus leads to something that will stand the test of time, somewhere close to the early pioneers of the same genre, such as 808 State and The Chemical Brothers, but very personal. The record is animated: it is full of ghosts of his past and glimmerings of his future, for listeners who are willing to hear something that heartbreaks, hopes, and rebirths. Then, The Ghost is a journey worth traveling on and hearing long beyond the final notes. Phidippus does not merely revisit his past; he remonstrates with it, showing that even amid the reverberations of injury, the music can still point the way.

 

swiispa.net

11/2025
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Marking a triumphant chapter in electronic innovation, Phidippus‘ debut album, “Prazosin,” released on January 1, 2025, is a vibrant mix of Breakbeat, IDM, and Electronic Pop. Helmed by Eric Salazar, the mastermind behind Phidippus, this groundbreaking album was crafted within the intimate confines of a two-bedroom apartment in Arvada, CO. Featuring emotive vocal contributions from Jeff Riteman, Alice Indiana, and Salazar himself, Phidippus transforms personal adversity into a sonic tapestry that resonates with raw authenticity.

Salazar’s quest to transcend electronic boundaries roots back to his early musical encounters with Tangerine Dream and Kraftwerk, subtly reflected in the ethereal layers of “Prazosin.” Inspired by his recovery from severe car crash injuries, each track serves not only as a testament to resilience but also as an exploration of emotion through electric soundscapes. Eric’s description of his music as an “electric voltage charged anthem” perfectly encapsulates this album’s spirited intensity, making “Prazosin” an essential listen for fans of genre-defying music journeys.

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songplode.art

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Have you ever felt like you were living under a dark cloud, where everything that could go wrong seemed to do just that? We’ve all experienced those moments when life throws us a curveball, and it feels like we’re caught in an endless string of misfortunes. It’s as if we’ve been “jinxed” – that peculiar state where bad luck seems to follow us around like a persistent shadow. These experiences, though challenging, often become the crucible for personal growth and artistic expression.

Introducing “Jinx,” the latest album from electronic music producer Phidippus. This 10-track opus, released on June 30, 2024, is a sonic journey through the artist’s tumultuous year, transforming personal tribulations into a captivating musical narrative. Clocking in at 55 minutes and 54 seconds, “Jinx” offers listeners a deep dive into Phidippus‘ world, where adversity and resilience intertwine to create a compelling auditory experience.

The album kicks off with “Welcome to My World,” a collaboration with John Lost that sets the tone for the rollercoaster to come. As we progress through the tracklist, we encounter standout pieces like “Move,” in collaboration with The Dragon Named Fenn, and “Shadows,” a track that showcases Phidippus‘ skill in crafting atmospheric soundscapes. The album’s centerpiece, “Anathemaamehtana,” is a testament to the artist’s willingness to push boundaries and experiment with unconventional structures. As we approach the finale, “So Long Clarkson” provides a fitting closure to this intense musical odyssey.
 

https://open.spotify.com/album/3tRrb0TFYUCgTWGAays7Sc

Behind the beats and synths of “Jinx” is Eric Salazar, the mastermind of Phidippus. Salazar’s journey in electronic music began in the 1980s when he first encountered sampled music on an Amiga 1000. Since then, he’s been on a relentless quest to push the boundaries of electronic music, unafraid to throw almost anything into what he calls the “sonic quagmire.” Phidippus‘ music defies easy categorization, embodying a punk ethic that challenges the often strict boundaries of electronic genres. This latest album is a testament to Salazar’s resilience, both as an artist and as a human being, transforming a year of personal hardships into a powerful musical statement.

If you’re a fan of electronic music that dares to be different, “Jinx” by Phidippus is an album you won’t want to miss. It’s available now on all major streaming platforms, including Spotify, Apple Music, and Tidal. Take a journey through Phidippus‘ world of atmospheric beats, collaborative tracks, and raw emotion. Whether you’re drawn to the hypnotic rhythms of “Synchronicity” or the introspective tones of “Remember,” there’s something in “Jinx” for every electronic music enthusiast. Don’t just take our word for it – give it a listen and experience the captivating soundscapes of Phidippus for yourself. Who knows? This album might just be the antidote to any “jinx” you might be experiencing in your own life.

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Musiktimes.com

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Phidippus signals his wide stock of variations in the dramatic dubstep sound with the brand new single ‘Metallik “Compressor” (Phidippus Remix)’. His sensible marks on creative space in the song make him the forefront of modern music. The track begins with exposing distinct cinematic styles that gradually grow into a colossal realm of techno beats. The fragments of the audio are detailed with laces of infectiously rhythmic escapism. I am looking forward to hearing about more astonishing production in near future. His innate specialty to blend music with emotions has raised his position in the modern music industry. Get more funk and innovative electro beats on SoundCloud, Spotify, Facebook, Instagram, Twitter and YouTube.

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Dailymusicroll.com

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Colorado Music Producer Phidippus Is Creating An Aura Of Electronic Music With The Album ‘170.2’. The musical formatting of electronic music streams in upcoming Colorado music producer Phidippus’ new album, ‘170.2’ is a captivating creative indulgence.

Musical transience and creative virtues in the areas of electronica is providing some of the best variants and diversities of sound and rhythms. Music producer Phidippus is creating an ambient verse of musical traction that is captivating and allowing the collective scope of electronic music to redefine its future goals. He is remastering his music of the past seven years into a beautifully amalgamated arena of electronic undulations in his newly released album ‘170.2’, a follow-up of his previous ‘170.1’ album. He is paving the way for a new sound and musical expressions and creating an indulging space of new prospects and perspectives.

The Colorado music producer is rapidly garnering engagement with his album, ‘170.2’ consisting of ten intense songs which a creative goal of utilizing the best sound modulations there is. Hailing from Denver, this artist is currently associated with the production house Jumping Spider Records that is allowing him to showcase his artistic methods. His tryst with music started from a very young age that paved the way for a bigger and more curious scope of musical understanding. His rhythmic insertions and sound dynamics are unique and new and are setting the benchmark for the future of electronica and EDM.

Artist Phidippus’ production skills have been celebrated on radio, television, and in clubs that are helping him find a renewed identity of his own. Electronic music has always been steady in making new trends and musical prospects and this album is integral in establishing a beautiful connection between music and cultural evolution. Some of the songs from the album that deserves special mention include ‘Irrational’, ‘Paranormal’, ‘Radioactive’, and ‘Thursday’ that present the artist’s endless creative arc. From his use of modern-day musical elements to deconstructing them as per his interpretations, his legacy is here to stay and inspire many in the years to come.

 

Issuewire.com

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Despite the fact that he has launched his own record label (Jumping Spider Records), Eric Salazar, better known as Phidippus, still cites one of his crowning achievements as being the score composer for the less than critically acclaimed video game “Belle’s Beauty Boutique.” With a lighthearted take on his presence in the electronica scene despite a broad range in his works both past and present, it is difficult not to find Phidippus both charming and inspirational as an artist. His past projects have focused largely on remixes and adding vocals to his tracks, even though his 2013 song “When I Was Emptyhead” takes a different approach as a vocal-less track that is solely an original mix. While it is immensely difficult to sum up such an eclectic and longstanding artist, I aim to pinpoint the facets of his work that have stood out the most for me.

I feel as though “Warm Cola” is a good place to start when discussing Phidippus’ work, as it is a track that carries many of the positive attributes that I’ve come to associate with the artist. The track has so much going for it, with a complex melody played at an unbelievably blistering pace. There are so many inconsistencies in the beats of most of Phidippus’ tracks that it is at times difficult to even slap on a time signature to some of his work. “Party Tonight” is a track that will drive you crazy if you try analytically breaking it apart; the vast amounts of melodic shifts make it so that attempting to define a specific time signature for each individual section is nigh impossible. The diverse nature of Phidippus’ musical arsenal makes it tough to mark his own unique style as anything other than “experimental,” though there are some small patterns that carry over to each new era of his work.

Most of Phidippus’ tracks are on the lighter side of the synth spectrum, though he doesn’t shy away from venturing off into deeper sounds. Take “I Just Want To Drive” for example: there are moments of heavy bass and guitar that combine with the electronic aspects of the music to the successful effect of a Blue Stahli or a Celldweller. On the subject of vocals, Phidippus’ performance falls under the category of what I would call “an acquired taste,” with a spoken word droning being the complementary element to the otherwise electric, energetic vibe that emanates from most of the tracks. The lyrical content in Phidippus’ music is just as avant-garde as his instrumentation, with some genuinely thought provoking tracks that forced me to rethink the way I analysed their lyrics after multiple listens. “I’ll Take God” is a track that I could write an entire essay on given the complex themes of accepting certain aspects of religion while rejecting others. In it, he writes, “I’ll take God without his preachers.”
Enter the Wacky World of Phidippus
by Adrian Bambace

I’ve complained in the past about modern music needing a jolt of innovation without coming off as pretentious. Phidippus seems to epitomize the desire to make great music while refusing to keep to one specific formula, making his trajectory as an artist fascinating to watch. I find Phidippus to be an immensely underappreciated musician who just needs one big hit to make his name reverberate throughout the densely packed world of electronica, and I hope that that day comes sooner rather than later.

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24ourmusicreview.com

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Produced way back in 1998, "IvoryCoast" still sounds like a breath of fresh air. Combining an 'old school' style break with lush synth melodies, this one breaks the rigid mold of d'n'b. Catchy analog riff throughout will have all the trainspotters at your decks. The flipside offers up Red Math's "Angry 90's Edit". Using all the old breaks, the Red one lays down a classic anthem that will warp you back in time to jungle's proto beginnings. Rareform follows suit with the "Get Me Out of Hear Mix" which also dips way down into the bag of old jungle tricks. If you like that '93 sound, you will eat this for breakfast, lunch and dinner.

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Knowledge Magazine

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This last crop of CDs/Tapes I received to analyze and CRUSH THE HOPES OF ALL THESE ARTISTS IN MY PLANS FOR WORLD DOMINATI..err, you know..anyway, it is with GREAT pleasure that I receive what I've recently got. I'd like to start out with quite possibly the cream of the crop, Emptyhead's self-titled album. Yoinks. This is incredible. To define this CD in a genre would be an injustice. To say the very least, I'm VERY pleased with this. Elements from all types of style are encompassed in this. This is a most honest statment..no 'standard fare' of genre. What really amazes me is the purely compositional elements of this disc. Tracks ranging from piano oriented arrangements to a DJ remix done with nothing but turntables really spice up the pallette. Each track is incredibly well produced (and all on a CD-R, to boot!) and different. Yah, that's kind of cliche, but the pure talent in this release and in every song engulfs the listener with pure aural ecstacy. Seriously. Beautiful soundscapes and almost orchestral arrangements are found all through this disc; even a drum & bass track adds to the eclectic nature of this album To truly define this, I'll share a sort of 'revelation' I had while driving to a friend's house & listening to this: after reading a recent article in "Keyboard" magazine, it struck me that this album fit what the editorial was about: the music actually tells a story. I mean, each song is full. There's suspense, resolution, denoument, everything. This is truly a..well, I could say timeless release. I really really hope more people hear OF Emptyhead and give this a listen. If it's not clear by now, I'm floored by the pure musical moods of this album. Indeed!

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Last Sigh

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eric salazar, aka emptyhead, has the right idea... thank you's go out to emagic, the makers of the logic sequencing software, and ensoniq, synth and sampler makers extraordinaire. if you can't thank the people who make you the gear to create with, then who? the title track on penitence is a minimalist, electronic-to-the-core affair. only two melodies battle for your attention throughout the song, and enough happens to them and the sounds that create them, to keep you occupied. simple but effective seems to be the motto here. the second track is more upbeat and also longer, making for some more changes in instruments, and it's danceable too. track three reminded me of jean michel jarre, in that classic synthesizer style, with more emphasis on the melody than the sounds. this is interesting, because it takes emptyhead down the unenviable path of competing against the synth masters, like jarre and vangelis, and although no-one could emerge from that fight unscathed, mr. salazar holds his own admirably. the last track is a reworking of penitence, with the addition of a beat and it really brings the song to life. i would choose this over the original.  a different route is taken with voluptuous, the backbone is the opening track, deodato, formed by a number of jazz-oriented and rap music samples. he doesn't just take the samples to incorporate into his own song though, he actually uses them to create a dancy jazz tune. the second track is more powerful, with a strong beat and a fuller overall sound. the same is true for the other two tracks on this ep, which i found more enjoyable than penitence. the songs are well laid out, they have interesting tempo and mood changes. cool.

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Raw42

“I hope you like them,” says Eric Salazar of his collected works. “I hope you listen to them while you are having sexual intercourse.” There must be something in the water this month. Anyway, nothing personal, Eric, but I work in an open-plan office, and my desk is right by the window.  Even in his music, it’s not always easy to tell when Eric is being serious. He talks of having run a dance label, but his first love seems to be the more filmic, instrumental synthfests of Jarre and Vangelis. The result is a jarring collision of styles, whereby crunchy drum programming and aggressive bass lines sit side-by-side with cheesy flute sounds and warm string pads. Sometimes it works, sometimes not. Perhaps you need to be having sexual intercourse to appreciate it properly.

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Soundonsound.com

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The contemporary arena of electronic dance music or EDM has found a new creative producer with Phidippus. He is presenting captivating ripples of electronic sound dynamics and rhythmic trance that is redefining music with the virtues of new styles and musical prospects. The artists recently came out with the album, ‘170.2’, a follow up of the previous record, ‘170.1’ that is beautifully describing the newfound legacies of the electronic music scene. Being an active part of EDM for a long time, he has developed the sense and understanding of various musical components that collectively reflect in all the ten songs of the album. His songs ‘Irrational’, ‘Paranormal’, ‘Radioactive’, and ‘Thursday’ all have the intensity of rhythmic greatness that carries the audience to the highest degrees of creative reliability.  Hailing from Denver, Colorado music producer Phidippus is dynamic in his personal growth as an artist as he has accumulated his experiences of the past 7 years into the making and remastering of the album ‘170.2’. His musical style is universal and culturally influenced which makes his songs acceptable to a large stream of audiences. He is already being hailed highly in the local EDM scene as he looks forward to spreading his creative arc across the globe. His interpretations and musical deconstructions are diverse that make him stand apart in creative eccentricity from his contemporaries. Follow his work on Soundcloud, Facebook, Twitter, YouTube, Spotify, and Instagram to know more about his music and thematic derivations.

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Yourdigitalwall.com

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