Lawrence musician Nate Henricks is pictured outside his home on Tuesday, Aug. 12, 2014. At age 28, Henricks has already released 16 albums and was recently interviewed by Stuart Maconie on BBC's Freak

For a musician described as a “bedroom folk” artist, it’s a bit remarkable that Lawrence-based Nate Henricks gained attention outside the confines of his home and on an international radio station this past July with a BBC interview on Stuart Maconie’s “Freak Zone.”

Henricks was stunned after receiving an email from the show’s producer that Maconie had discovered his lo-fi psych-pop collage-style music with dreamy melodies and reverb-soaked vocals.

“It was a totally weird thing because I don’t have a big listenership,” Henricks says. “At least that’s how I perceive it.”

Henricks put out the six-track release “Neon for No One” through a West Virginia tape label called Crash Symbols, and it received a number of positive online reviews. Maconie came across a review of 10-minute song “Dead Fox Waltz,” becoming so enthralled with Henricks’ innovative arrangements that he has promised to continue to play Henricks’ music on the station.

“While he’s kept his tracks relatively lean in the past, occasionally Henricks demonstrates the full force of his versatility with impossibly stacked collages like this one,” reads a review of “Dead Fox Waltz” on indie music guide, Chart Attack.

“Smatterings of Wilco and Sufjan Stevens are the threads in 10 and half minutes of noise,” the review continues, “whether it’s a collection of sleigh bells urging you to ‘Just keep on walking,’ dappled tropics, or Beach Boy harmonies amid a Kinks jam session.”

It will be a while before Maconie exhausts all of Henricks’ material; at age 28, Henricks has put out 16 albums through various tape labels and on Bandcamp. He has yet to bring his solo work to the stage in Lawrence.

“I’m not really into the entertainment side of it,” he says. “I kind of do it for creative, artistic exploration purposes rather than promoting myself as an artist.”

Henricks cites literary icon William S. Burroughs as an inspiration for his creation process, as Burroughs was a proponent for the cut-up method. The cut-up technique in literature involves cutting up a set of text and rearranging to form new text. Henricks applies the technique to music production.

“The Internet really affects what I do because for the first time in history we have access to this crazy catalog of music that dates all the way back,” Henricks says.

He sits in front of his laptop for hours at a time cutting up sounds from various songs, adding vocals and playing lines on guitar, keyboard and other instruments. He then arranges these song fragments, layering sounds on top of each other until reaching the desired result. It works hand-in-hand with the fuzzy DIY lo-fi characteristic of his music, he says. Nothing is ever processed or polished.

“Even if it sounds [bad], I’ll keep it and add another layer to it,” Henricks says. “You have to do something to make it interesting or accept the things that don’t sound good and use it instead of just throwing it away.”

He compares the unique process of chopping and layering to his other mediums of creation: painting, drawing and making collages. Two of Henricks’ paintings hang in Wonder Fair.

“You can add something forever,” he says. “There needs to be a point where you’re comfortable stepping away from it.”

In high school the multi-instrumentalist from Peoria, Ill., used music as a means to connect with the few other musicians in his small hometown who also wanted to escape the weight of expectation. This was the first time Henricks truly felt the meaning of “indie” as people congregated to be creative and express themselves.

“Growing up, everybody feels alienated in their lives a lot, but I especially did, living in this place that I didn’t really feel like I was being fulfilled in a lot of ways,” Henricks says. “I found who I was through this group of people I played music with, went to shows with, and for us it was a unifying thing.”

He first came across Lawrence while touring with a former band in 2009. They stopped in town to play a show at Olive House Cooperative, where he met Angie Schoenherr, his current girlfriend and bandmate in local duo Youngest Children.

“At the time I was living in Illinois, not really doing anything, working a job that I hated and didn’t really have a direction,” Henricks says. “So I decided to pursue a friendship with Angie and that meant moving here.”

The strongly connected music scene in Peoria helped him decide to settle in Lawrence. Henricks is also a band member in Invisible Public Library, Salvador Francisco and Plains, in addition to working as a landscaper. He plans to release his first vinyl record in 2015 through Chicago label, Patient Sounds.

He describes Lawrence as a heaven where there’s lots of opportunity for him to play live among and for a “ridiculous amount” of inspiring musicians.

“You could go to any kind of show, any night of the weekend and everything’s represented,” he says. “This is world-class music.”