Music » Music Stories & Interviews

Leaving Las Vegas fruitful for Method



Although the Crystal Method's Scott Kirkland is dead-tired the day following a show in Oklahoma City, it isn't necessarily from the previous evening's festivities. Kirkland is just waking up the day after celebrating the one-year anniversary of the wildly successful debut album from the electronica duo's critically acclaimed, big-beats-from-mission-control debut recording, "Vegas."

In a whirlwind 12 months, Kirkland and Ken Jordan have toured the world, seen their recording in the Billboard Top 200 for 36 of the first 52 weeks and watched their latest single, "Comin' Back," reach No. 1 on the dance chart. All of that success translates into headline status at this weekend's Zen Festival for the Crystal Method. They join dance-music icons Rabbit in the Moon, BT, Überzone and DJ Këoki as well as enough DJs to populate the community of Glenwood, Ca., where the two relocated after college and built a studio.

Kirkland, whose disco-and-Pink Floyd-loving parents set him up with guitar lessons and bought him his first synthesizer, met Jordan at the University of Nevada-Las Vegas, where the latter was a college radio DJ with access to the latest cutting-edge music and recording equipment. The two formed a partnership and by 1992 were dividing their time between cutting hook-filled electronic-music tracks and hitting the Los Angeles rave scene.

By 1993 the duo inked a deal with the L.A.-based City of Angels label, which led to a series of soundtrack contributions that culminated in a collaboration with industrial-rock act Filter on the "Spawn" CD. Crystal Method soon became one of the rave scene's fastest-rising stars.

"Vegas" was released Aug. 26, 1997, and the road trip hasn't stopped since. After Zen, the two will fly to Japan for some final tour dates, then it's back to the studio. "No matter what direction we seem to go in, there's still that Crystal Method sound," says Kirkland, who recently applied that sound to remixes for Garbage. "No matter what we do in the future, whatever style or genre that the song will fall under, it's still a sound that is ours."

We welcome readers to submit letters regarding articles and content in Orlando Weekly. Letters should be a minimum of 150 words, refer to content that has appeared on Orlando Weekly, and must include the writer's full name, address, and phone number for verification purposes. No attachments will be considered. Writers of letters selected for publication will be notified via email. Letters may be edited and shortened for space.

Email us at

Support Local Journalism.
Join the Orlando Weekly Press Club

Local journalism is information. Information is power. And we believe everyone deserves access to accurate independent coverage of their community and state. Our readers helped us continue this coverage in 2020, and we are so grateful for the support.

Help us keep this coverage going in 2021. Whether it's a one-time acknowledgement of this article or an ongoing membership pledge, your support goes to local-based reporting from our small but mighty team.

Join the Orlando Weekly Press Club for as little as $5 a month.