- quantec – easing of tension
- sterac – the secret lives of machines (dub 2)
- niro – agachoo – fred p reshape
- pulshar – kms – pablo bolivar space edit
- white label
- matams – the hills – stefan weise remix
- pete moss – late night up north (wink interpretation)
- lori asano – bloom
- white label – Untitled
- luke hess – slow to speak
- oliver huntemann – melbourne
- steven weise – dualism)
- harvey mckay – the message
- moodymanc – omlette (dplay remix)
How did you get into djing?
I am an intermedia artist who has been utilizing dj sets for over a decade to lure listeners into a sensorial state of deep rhythmic and melodic abandon. I’m thoroughly obsessed with collecting and playing with all the different types of deep sounds that the universe has to offer.
After a hearty career of fledgling undergrounding, I got involved with various crews throwing parties in Los Angeles in 1998 and by the year 2000 I had already amassed a sizable collection of deep wax. After finishing fashion school, I got a job with Ovum Recordings from 2003-2005 in marketing and promotions. It was really great experience getting to help out with Ovum shows around the states and especially at WMC. In mid 2004 I met one of the founders of BerettaMusic, Ryski, as we were constantly running into each other at gigs in Southern California. 2005 was the first year I attended DEMF, and became great friends with the rest of the Beretta Crew. I have been integrally involved with the label ever since. I started the deep podcast “Distance Over Time” (http://feeds.feedburner.com/distance_over_time) in March of 2009 which serves as a broader musical framework for Beretta artists to contextualize their work within and also as a gourmet supplement to their personal musical visions.
What is your preferred method of playing?
My ideal setup employs vinyl and serato scratch live with a kontrol x-1 on technics and all routed through a xone mixer – this is setup I created my GaysHateTechno mix with.