This post was updated Nov. 26 at 7:06 p.m.

Kyle Gordon is transcending genres and planets with his latest work.

After releasing his 1990s Eurodance parody, “Planet of the Bass (feat. DJ Crazy Times & Ms. Biljana Electronica),” this summer, the comedian and content creator went viral across social media platforms. Based on a character Gordon had performed in his live sets for nearly a decade, the single marked the first drop from his debut album, “Kyle Gordon is Great,” slated to release on March 1. Currently, Gordon is taking his music across the United States for the next leg of his ongoing comedy tour.

Gordon spoke with the Daily Bruin’s Victoria Munck about the development of his upcoming album and its origins from some of his earliest experiences in live comedy.

This interview has been edited for length and clarity.

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Daily Bruin: This album parodies a lot of niche genres, and they’re all very distinct. How would you describe your relationship with the source material that inspired these songs?

Kyle Gordon: I think this album and the fact that I was drawn to want to parody so many different genres really is a reflection of my taste. Music is probably my first and greatest love. The way I consume music is I go down rabbit holes and become obsessed with different genres, and I like to learn everything I can about different subgenres. So, I feel like I’m very familiar with the source material of all of them, but some worlds I love a little more than others.

For example, ‘90s Eurodance in “Planet of the Bass” – it’s so strange, but I genuinely love listening to that music, same with bossa nova. Those are two genres that don’t always get a lot of love. But then again, there’s a parody on this album of a late 2000s, Colbie Caillat, Jason Mraz beach pop kind of thing. I don’t know if I’m the biggest fan of that music, but when I was in high school, there was so much of that stuff on the radio. I feel like everything I parodied, I wanted to make sure I was pretty knowledgeable about.

DB: You’ve released three songs from the album so far. Can you talk about the single selection process? How do the songs that are currently here represent the project as a whole?

KG: I started with “Planet of the Bass” because we were gonna start releasing songs in the summer, and I thought it had a very up-tempo summer feel and energy. A lot of people ended up calling it “the song of the summer,” which was great. It’s funny because, although DJ Crazy Times is a character that I’ve done for many, many years, that song is the only song that I wrote specifically for the album. So, that was interesting, but I really love the song, and I thought it was a good energy.

“Ugliest Girl on the Beach (feat. Antonio Frankfurt)” is another one that I’ve been performing live for a long time. I really wanted that to be the second single because I thought it was funny, I liked the song. But also, I thought it was going to really cue the audience into the fact that this album is going to be a lot of different things. DJ Crazy Times will probably come back in the future, but maybe not right now, so I thought it was a really good indication to people who are paying attention that (this would be) the vibe of the album.

Then, I wanted to go back to the third single, which was this country song that’s Shania Twain-esque, early 2000s country. I just liked that because it was a really up-tempo song. I’m always thinking about varying up the energy.

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DB: The album also includes installments of fake radio dialogue between songs. How did that aspect come to be, and how do you hope it contributes to the overall listening experience?

KG: The album started with the songs, and then from there, I was like, “If I’m gonna package all these songs together as one product, how do I make it as listenable as possible?” Because usually when you listen to a particular artist, you’re signing up for one vibe. With this one, I knew there was gonna be a lot of whiplash going from song to song, so putting those radio interstitials served a lot of purposes. It helped transition each song to the other. It also tied the whole album together and really made it clear that it is one cohesive concept. Also, it’s just another opportunity for me to do more characters, which I find very fun. And radio as a subject is very fun and interesting to me, so it checked a lot of boxes.

DB: You mentioned that a lot of this album’s characters originated from live sets you’ve been performing for years. What was it like returning to those characters as you were translating them from the stage?

KG: This is the culmination of what I always envisioned for these characters when I was performing them live. They were the backbone of my live set, doing these musical genre parodies, but when I was performing them, even then, it was just me and a guitar. In my head, I always imagined them with full production. So, in a sense, this is the vision that I always had in my head but now have finally been able to bring to fruition.