I've been making electronic music since before most of today's producers were born. 30 years. No label. No compromises. Just architecture.
The setup has changed completely — hardware sequencers, early DAWs, modern production suites, every iteration of the tools. What hasn't changed is the approach: rhythm, tension, release, space. Those are the only parameters that matter regardless of what you're running them through.
By day I run Digitalis Creative — developer, webmaster, data scientist. That's not a separate life from the music. Pattern recognition is pattern recognition. Debugging a data pipeline and constructing a track are the same cognitive operation at different frequencies.
Every track I've ever made is mine. The weird ones, the wrong turns, the ones that took six months and went nowhere, and the ones I'm proudest of. Nobody can license them without my say. Nobody can take them off platforms. Nobody can tell me what to do with them. That's worth more than any advance.
Underground techno. Detroit. Berlin. Acid. The records that cleared rooms and the ones that filled them. 30 years of crate digging feeding directly back into production. Nothing is wasted.
Three decades of genre crossing. Not genre hopping — genre architecture. Every style is a tool. The music decides which one gets used.
Available for sets, production work, and the occasional collaboration with people who understand what independent means.