The new EP from New York and Florence-based producer Child Of draws from the past without getting trapped in it. Out now via SOL Records, Remover / At The Heart Level hits a rare balance: emotionally expressive but structurally disciplined, packed with texture but never overblown. The first track, “Remover,” leans on a classic “yeah” vocal lifted straight from early ’90s rave culture—think Quadrophonia, 2 Unlimited—but instead of riding the sample for nostalgia points, it folds it into a tightly-built peak-time burner.
Its counterpart, “At The Heart Level,” dials the energy back but deepens the tension, exploring melodic terrain with minimal pressure and maximum payoff.
The project is led by Todd Weinstock, whose musical roots run deep—from hardcore punk beginnings with Glassjaw to expansive, cinematic club sounds under the Child Of moniker. His journey from guitar-driven chaos to atmospheric, groove-based introspection shows up clearly in these two tracks: every decision feels lived-in, but open.
With past shows at NYC fixtures like House of Yes and Elsewhere, a remix for Lee “Scratch” Perry’s final project, and a role in shaping the warehouse series Pixelated, Child Of is quietly becoming a steady presence in New York’s underground. We caught up with him to talk inspiration, coherence, and what it takes to get out of your own way.
Do you think inspiration comes from you — or through you?
Through.. Always through.
If you tend to be an over-thinker like me, getting yourself to a place where you can receive and get out of the way is really the whole thing. The best ideas come when we act as a harmonic vessel rather than a source. Inspiration feels more like a signal you catch when you’re not busy trying to prove something (but aren’t we all trying to prove sommmmething.. even subconsciously). You have to be the dish, not the satellite. Sometimes the signal’s clear, sometimes it’s static and existential dread.
What conditions help you recognize when an idea is worth chasing?
It’s the ones that haunt me. It folds time. The ones that I start sketching and forget what hour it is completely. The ones where the sun is going down and I realized I haven’t eaten yet. Also they are the ones that a lot of times happen the quickest.
When something clicks creatively, what do you think is actually happening?
I believe it’s coherence. An alignment between my field and the field of consciousness. It’s like collapsing a waveform into an audible form (which is also waveforms). I think this is why some people have to be in a certain emotional state to be their best creatively. It’s where they learned to touch “divinity”.
I used to have to only be a sadboy to get my best work done and that’s where my field connected. I’ve learned to not have to be in that state to be creative now, but it’s like when you hear about artists getting off drugs and then they can’t write a song anymore. It is the practice to get to that state in happiness, in sadness, in anger, in indifference…
How do you know when to step back and let the track lead instead of trying to steer it?
When it stops responding to force. If I’m pushing and it’s not flowing, I know I’ve lost the plot. At that point, the track isn’t mine to lead. It’s asking me to listen again, to receive.
Has your relationship to inspiration changed over the years?
Absolutely. Early on, I thought it was about being clever. How many weird or interesting parts can I stack on top of each other? What does this one say about me?
Does this fit into my genre? How will people notice me? Now I see it more as remembering something. Inspiration isn’t scarce. It’s harmonic.
Are there patterns or practices that seem to invite new ideas consistently?
Honestly, the ideas don’t come because I’m doing something, they come because I’ve stopped doing something that was blocking them. Breathwork is something that helps me step into a different state, especially if I know that I’m somewhere where there is interference.
But also taking a shower, going for a walk, listening to some other music that inspires me, listening to a Solfegio tone on YouTube that sounds like a microwave falling in love with a dial-up modem, smoking a joint. Bowie always talked about making art at the edge of your comfort zone which is something I also really resonate with.
I love this quote by him: “If you feel safe in the area you’re working in, you’re not working in the right area. Always go a little further into the water than you feel you’re capable of being in.”
What breaks your connection to the ideas you’re trying to catch?
Overthinking. Comparison. Forcing.
If I have a lot of non-music things that need to be taken care of they turn into little parasite demon faces that swim through my mind and take up space until they are at least partly addressed. Do what you have to do to sage the parasite demons or become them and make your idea as the parasite demon version of yourself.
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