What: The Crystal Method

When: 9 p.m. Friday

Where: The Domino Room, 51 NW Greenwood Ave., Bend

Cost: $20 plus fees

Contact: redlightpro.com or 541-408-4329

If The Crystal Method’s Scott Kirkland sounded a bit scattered while talking with GO! this week, he could be forgiven.

Without co-founder Ken Jordan, who retired from music and moved with his wife to Costa Rica in March 2016, Kirkland is solely responsible for steering the electronic act for the first time in its 24-year history. He was in the middle of at least three projects when he was reached by phone at his studio in North Hollywood, including a digital release of The Crystal Method’s score for the Netflix documentary “Hired Gun,” about behind-the-scenes touring and studio musicians. Also on Kirkland’s plate: a new Crystal Method album, a tour that lands at the Domino Room on Friday and several remix projects.

“Going from two to one (person) is — there is definitely more responsibility, and there’s more things for me to think about,” Kirkland said. “But at the same time, for someone that needs to be busy — I need to have a bunch of things going, or I don’t feel like I’m being productive. So it’s good. It’s nonstop.”

The shakeup may come as a shock to longtime fans. Kirkland and Jordan met while working at a grocery store in Las Vegas and formed Crystal Method in Los Angeles in 1993. The band’s 1997 debut album, “Vegas,” featuring singles “Busy Child,” “Trip Like I Do” and “Comin’ Back,” put the duo at the vanguard of the big beat movement alongside artists such as The Chemical Brothers, Fatboy Slim and The Prodigy.

Jordan’s exit comes after five albums, including the duo’s most recent, self-titled effort in 2014, and numerous soundtrack and video game appearances.

Kirkland said he thought about putting The Crystal Method on hold and performing solo or under a new name, but instead seized on an opportunity to open for progressive metal band Tool on its summer tour last year.

“I did do a couple things; I’ve done a couple different projects and worked on some remixes,” Kirkland said. “And as I started to reflect back on being The Crystal Method by myself, what I needed to do was get back in the studio and see what kind of music I was gonna be making and what I felt like doing. And going out on the road and doing some shows, this tour that came up this past summer with me going and opening for Tool, it wouldn’t have — I mean, it potentially could have happened if I was (using) a different band name, or if I had come up with a new sort of whole different mystique.”

The DJ sets he’s been performing as The Crystal Method have drawn from throughout the duo’s history, including studio albums and remixes of tracks by other artists. He’s taken a more structured approach to the sets, plotting out blocks of three or four songs at a stretch that he can build on depending on the audience’s mood.

“I’m not playing anything that I don’t want to play. That sounds silly, but for a few years, the whole world of electronic music was sort of shaped in a very pointy spear,” Kirkland said. “If you didn’t have that specific sort of thing where it was always hitting … and all that nonsense where you gotta have that energy up. That makes no sense. That’s the sound for that generation and that audience, and my sound has some of those elements in it.

“But at the same time, I like playing,” he continued. “I like it when the crowd knows the track. That’s a good thing; that is a fun thing when people are like, ‘Yeah, f--- yeah, that track.’”

At least one new song Kirkland has been working on has made it into the sets. He said he has more than 20 ideas in various stages of completion worked on over the summer with Glen Nicholls of Future Funk Squad and DJ/producer Neal Pogue.

As for the sound, don’t expect too much of a departure from previous Crystal Method releases. The self-titled album updated the band’s sound for the modern electronic scene while still maintaining the hard-hitting, mid-tempo beats and complex soundscapes of its past work.

Without Jordan, Kirkland has more room to experiment on the new material, but he’s not looking to reinvent the group.

“I’m probably still thinking in terms of all the things that we’ve learned together about making music in this genre,” he said. “So at the same time I have that freedom; I’m always gonna be falling back on things that Ken and I did really well, and things that we really appreciate about our sound. The fact is, I still want this to sound like a Crystal Method record. I’m not gonna come out with a banjo and a glockenspiel or something. If there was some banjo and glockenspiel, it’d be roughed up a bit on the edges, and there’d some drums on there. But at the same time, I’m excited to find out what’s possible.”