Rabit is Houston producer, composer, DJ, and record label owner Eric Burton. Chiseling out a bold vision of sound since 2012 Burton has slowly worked his way to the forefront of an international group of artists seeking to create a fresh and uncompromising perspective on future dance music and the very fabric of the club landscape.

Much like his contemporaries, Arca, Lotic and Toxe, Burton combines industrial, hip hop, noise, and sound collage to foster sonic spaces for the exploration of sexuality, gender, race, embodiment, and injustice. Starting his career in 2012 with several EP’s, splits and singles, it was his 2015 debut album, Communion, released on NYC’s Tri Angle Records, which garnered him broad attention by international audiences and the music media. Inspired by the talent emerging around him, 2015 also saw the launch of Burton`s own label Halcyon Veil, a collaborative release with NON’s Chino Amobi as well as a official remix for Björk’s Vulnicura LP.

In 2016 Rabit was featured heavily as a producer on Elysia Crampton's Break World album, Elysia Crampton Presents: Demon City (with Chino Amobi, Why Be, Rabit & Lexxi). Additional time was invested in Halcyon Veil releases of artists such as Why Be, Angel Ho and Abyss X.

In 2017 Burton reconnected with Björk for production work on her release Utopia and his sophomore album Les Fleurs Du Mal was released via his own Halcyon Veil imprint on November 3rd 2017.

In the meantime Rabit has worked on his third release, Life After Death, which is due to be released on Halcyon Veil on October 5th 2018 in physical and digital format:


The album was recorded in home studios in Houston, Texas and Paris, France, and is the culmination of two years’ worth of experiments in various forms of synthesis. Like last year's Les Fleurs Du Mal, the new album marks a further advancement in the development of his own distinct musical language. Realized through genre-free expressions that pull inspiration from Surrealist art to DJ Screw, Enigma, and Japanese Ambient artists like Hiroshi Yoshimura, the album has an exploratory, transcendental core. The project's artwork - a cut up mandala– can be seen as a reflection of the artist's kaleidoscopic approach to this pivotal new album. This is a transformative moment not only for the creator but for the listener as well.

The idea that genres have become a noose is clear upon the first listen – Rabit notes “the probing and revisiting of genres in electronic music felt fetishistic and limiting and wasn’t the best way for me to communicate.” Instead, his approach reflects a wider, broader sound field – these aren’t simply tracks, they are sonic worlds of feeling to bathe in. Rabit adds, “Exploring sound is alchemy if you want it to be, but I would be wary to explain these aspects of my work because there’s a raw understated quality to the record that I want to respect. I think the occult term is interesting because I don’t hear this explored in music in ways that I find relevant. I leave it to time and the intelligent listener to make up their own meaning.”

Despite what it may sound like on the surface, this new album is not a Zen-like ambient record.

“Life After Death” is in some ways the sonic equivalent of an early Alejandro Jodorowsky movie – or maybe even like being guided through a tarot reading by Jodorowsky himself. Life After Death is alchemical, mysterious and utterly captivating – yet also futuristic. Rabit is removed further from his early work for labels like Tri Angle by building himself a lighter more dreamlike universe. "Surrealism is still around in different ways – it is a feeling. I think there’s something trying to communicate itself under the surface in the tools we all use to express. It's important to me to let that speak. This new way I create is more satisfying than ever before because there are layers and feelings that reveal themselves over time. "

When pushed, Rabit notes it is a synth record but then clarifies “I think I say ‘synth’ record because the strand running through it is this element as a compositional tool.” In fact, there are few precedents for a record like this – Coil, aspects of the work of GRM composers, but Rabit’s sound is more cinematic. If Stanley Kubrick were still making films, he may have used this music. But with all this said, oddly enough, Life After Death still sounds pop – psychedelic yet accessible. Pop for the underworld, or what lies beneath the surface.