Electrode 2012 | 8-9 Giugno

Birdy Nam Nam (Para One)

admin — Wed, 25 Apr 2012 17:44:46 +0000

French quartet Birdy Nam Nam had already shook things up back in 2009 with A Manual For Successful Rioting : farewell, the playful and smokey abstract hip-hop heard on their first LP, and hello, heavy motorized electro beats design to cause mayhem in clubs and venues worldwide.

The massive following tour could only confirm the band’s high profile on stage : performing live, members Crazy B, Pone, Need and Lil’Mike sound and look like a punk outfit raised on Bambaataa and Daft Punk rather than the Clash and the Pistols. In 2010, BNN won a « Victoire de la musique » (the French equivalent of a Grammy award) in the electronic music category – David Guetta was also competing. Then they got back into their studio to start recording a third record. And they wanted to make something even more astonishing than their previous one. Something maybe a little less rockin and bangin, a little less obviously dance floor-oriented. Chance made that next to their studio was working Parisian producer Para One, a guy able to do techno anthems as well as digital funk jams, ambient soundtracks or future rap beats. The boys shared with him a set of common roots in hip-hop and its defining taste for wild synthesis of genres and vibes ; after a few coffee machines conversations, they all felt a collaboration could be really nice. Then three months later, the job was done : ideas were swapped and enchanced, going back and forth between the BNN lab and Para One’s unit, and the result is a rich, versatile creature, born from continuous sensitive work-out from the five artists. This is a record that has a lot to give to its listeners, and that watches everywhere without forbidding itself anything.
So the whole thing is rammed with aural details and feelings, but it never sounds messy or bric-a-brac-minded. Its tightness is almost a miracle: how could it be thought out and finished within three months and sound so solid and matured – but not mature, mind you – while blending so many different styles and atmospheres ? Maybe just because the maturation process, for these guys, has been taking place for a good ten years (and even more for veteran DJ Crazy B) : more than a decade spent absorbing with unsatiable appetite an extremely large range of music. BNN, with the help of Para One, actually updated one of the essence of hip-hop music: the hedonist will to mix very diverse references and influences coming from a vast, hyperactive environment. So this album sometimes sounds like it tells a parallel, utopia-infused story of hip-hop music, like if hip-hop hadn’t got so self-sufficient, and instead had tried mingling with R&B vocal chops, space-jazz synths, IDM digital breaks or US house and techno body-grooves. A Manual for Successful Rioting was full of straight- forward,cathartic numbers ; now Defiant Order is more into oblique, obssessive rhythms. No pretentious experiments, though: BNN are definitely not professional scientists of club music. Taking artistic and technical risks just gives them the opportunity to make their tracks even more thrilling and exhilarating.
Today’s mainstream hits produced by « edgy » names is most frequently not edgy, and simply not exciting : doesn’t it seem like the fantasy of avant-garde chart pop has vanished in recent years ? With this new LP, BNN decided to take the (almost) exact opposite way, and it’s a pretty rare thing, we have to say : here’s a globally famous band, reknown for having at first crossed-over, but that now goes back to something people used to call « the underground ». This is a radical, daring record, though it’ll painlessly reach its audience – because after all there’s no more mass-market VS underground circuits: there’s just plenty of good music here, and plenty of people to love it.

Oliver Huntemann (Ideal Audio, Confused)

admin — Wed, 25 Apr 2012 17:43:32 +0000

Oliver Huntemann is one of a handful of children of the north who, for what seems like an eternity, add an element of credence to the mythology. He does not, of course, live in a snowy forest or at the edge of the polar oceans. The sun does, on occasion, shine down on Hamburg. Nevertheless, there is a tendency towards hypothermic reduction in the rigourous efficiency of the Huntemann oeuvre. Images of cold storage warehouses, desolate heavy plant sites and blueish flesh are not entirely misplaced. Shards of German Engineering glimmer in his music, laced with persuasive logic, gruesome Darwinism. What remains: what works. In “Brighter than the sun“, the English music theorist Kodwo Eshun depicts the birthplace of Kraftwerk, Dusseldorf, as the “Mississippi Delta of Techo“. Huntemann’s tracks may well have dragged themselves out of the same primeval soup, but it was the far north which fired them with the necessary steel for clubland. The resultig creations are linear, free of fancy, charmingly direct. One particular London arbiter of taste sought to label the nature of his skeletal sound as “bare and striped back to the metallic core“ – whereby Huntemann’s reduction does not end in thin minimalism, it draws attention to the core itself. Less is more to the max. The only luxury is a little dirt. Whilst hordes of German producers and DJs set their satnavs for Berlin, Oliver Huntemann chose to head back home. His epicentre is, and will remain, the north. Hamburg, to be exact. This is where he produces his music and it is from here that he sets out into the world, thrilling the populus with his DJ sets. His mix CD “PLAY! 01“ (live in Sao Paolo, Brazil is ample proof of clubber euphoria, followed closely by “PLAY! 02“, recorded in February 2008 in the legendary REX Club, Paris. Moreover, the live mix is indicative of the fact that the tonality or all round aesthetic of his set ultimately earns the response it deserves. His music enters a deeper level, detached from time and space, beyond all points of reference or rational categorization. It’s as if the crowd becomes a part of the sound itself, engaged at times in a call and response game. What more could a DJ desire? Oliver Huntemann’s concrete roots can be traced back to early techno. Had he been any younger, he would undoubtedly have sucked electronica like mother’s milk from a C64 chip. Like so many of his colleagues, his route to techno took a tour through electro and rave. He could tell the usual veteran tales when it comes to influences, his first record purchases, or on the subject of the good old days. Been there, done that! It was more difficult maintaining a low profile. Since 2009 Huntemann has been running the Ideal Audio label. A new chapter after more than fifteen years Confused Recordings plus a host of sub and sister labels. As well as numerous 12 inches and almost as many remixes (for Underworld, Chemical Brothers and Depeche Mode, to name just a few), he released his third album, “H-3“ in 2009 to critical acclaim on Ideal Audio. With so much fame on his plate, he done remarkably well to stay out of the spotlight. That’s how it is in the north, actions count, not appearance.

http://www.youtube.com/user/extra110

Arnaud Rebotini (Blackstrobe/Citizen)

admin — Wed, 25 Apr 2012 17:42:43 +0000

Released four years ago, the first Black Strobe album, Burn Your Own Church, took everyone by surprise with its furious feel, aggressive guitars, nods to hard rock and deliberate refusal to stay within the electro-pop limits rife at the time.

In 2007, exhausted from burning guitars on stage during the worldwide tour that accompanied the album, Arnaud Rebotini decided to hole himself up in the studio, switch off his computer and forget about the programs and plug-ins used everywhere else, sometimes to great effect, often not… He went back to all his old machines acquired over the years, the TR-808, SH-101, TR-909, TB-303, Juno 60… all instruments that have earned their place in the old school techno hall of fame.
Back then he said, “Faced with my old drum machines and keyboards again, I felt so at home, like I’d been using them all my life. Getting so much pleasure from going back to those sounds was a revelation. When you switch on a synthesiser, you’re playing an instrument that is part of music history. A laptop will always be something you use to send e-mail.”

Music Components, the album released under his own name that resulted from this redisco- very of diodes and transistors, is a pure homage to techno classics and the philosophy that accompanied them: long tracks, instrumental, repetitive, powerful and melancholic, carved out of one idea explored to the point of obsession. Ten carefully crafted tracks that prove techno has a life outside the dancefloor, in the vein of classic albums by Carl Craig, Plastikman and Drexciya (to name but a few). But above all, Music Components went totally against the grain, eschewing all the fashionable traits of the time; saturation, successive layers of sound, a mix of genres, the hybridisation of formats, malformed ideas…

After the unexpected and strangely revealing success of this concept album in the pure techno tradition, it seemed inevitable that Rebotini would pen a follow-up to Music Components. And so he has! But just as our man mutated from Zend Avesta to Aleph to Black Strobe, he’s a great fan of doing something different, always returning with new projects and carefully defined iden- tities. Don’t expect to hear Music Components Volume 2. Instead, expect a new approach, a different angle, another side of his return to machines. Someone Gave Me Religion is an album resonating from the live tour that followed Music Components, where from behind his machi- nes, Rebotini launched into his music, confronting it with the harsh reality of the dancefloor…

From the very start, track one The First Thirteen Minutes Of Love opens the album with over ten minutes of ambient unlike anything you’ve heard in years, a long, elegiac composition somewhere between Carl Craig and the chill-out zone at a bygone rave. It’s a warning: take a deep breath before being swept away by eight tracks that span Detroit and Berlin, Front 242 and Carl Craig, linking them via soaring trance, carefully-crafted minimal, the sound of the 90s, the sound of the new millennium. It’s hard to imagine the strike force and heart pangs it will inevitably inflict on any club in the know.

Nowadays, in an age where vintage is the latest fashion, ancient synths go for silly money on eBay, where the still-worshiped instrument manufacturers are concocting new machines, and where many famous producers openly criticise the creative limits of composing music on a computer, we can finally see to what extent Music Components was a record that managed to cultivate a certain nostalgia for techno’s golden years, whilst refusing to hide in the past. On the contrary, it was visionary, clearing the way for a glorious future… a future that now has a name, no matter what the time or place.

Discography :
Music Components – 2008 – Citizen records
Music Components rev 2 – 2009 – Citizen records Someone Gave Me Religion – 2011 – Blackstrobe records

Addictive TV (AV set / UK)

admin — Wed, 25 Apr 2012 17:42:12 +0000

Once so eloquently described as ‘next level shit’ by Grandmaster Flash, British electronic duo Addictive TV create music with a difference; it’s music you can see.

They’re “responsible for mind-bending live entertainment” according to UK newspaper The Times, and US entertainment magazine Paste said “Addictive TV completely blew my mind! …a compelling pop- culture audio/visual avalanche!” while DJ Magazine twice voted them #1 VJs in the World alongside their Top 100 DJ Poll, saying “they’ve become famed for their eye-popping live shows, shredding and cutting film with beats into a heady, mind-meltingly funky mixture”.

In their extraordinary work, Addictive TV delve deeply into movies and videos hunting for sounds and images to sample, creating dance music that fuses everything from fidget and electro to drum ‘n’ bass and rock.

Borrowing from hip-hop’s cut ‘n’ paste methodology, as British newspaper The Guardian put it, “Addictive TV continue to take hip-hop’s scratch philosophy into the cyberpunk age”.

They create their music by keeping the audio and video samples together, so their fans get to see more than just a DJ, more than just graphics or visuals; they get to experience music in a genuinely unique way.

Everything from the World Cup to Star Trek gets remixed.

It’s entertainment Jim, but not as we know it!Criss-crossing the music and art worlds, Addictive TV have appeared everywhere from the Pompidou Centre in Paris and the Museum of Contemporary Arts in Shanghai, to international clubs such as Razzmatazz in Barcelona, Womb in Tokyo and Mighty in San Francisco.

They’ve now played in more than 50 countries, at events including the UK’s Glastonbury Festival, the Winter Olympics 2010 in Vancouver and the World’s largest ever silent disco, held in France in July 2011 for 10,000 clubbers all with headphones!On the directing and sound design front, Addictive TV have created commercials and video installations for the likes of Adidas, Red Bull and EA Games.

Hollywood studios including Paramount, Universal and 20th Century Fox, have all used their movie mashing talents to create alternative trailers for films including Iron Man, Fast & Furious and Danny Boyle’s Oscar winning Slumdog Millionaire.

In early 2012, the guys created the launch commercial for the much anticipated Street Fighter x Tekken video game from Capcom and Namco – the first time two games publishers have ever joined forces, mashing two well known games into one.

Addictive TV’s line-up is now founder Graham Daniels and mash-up guru Mark Vidler, aka Go Home Productions.

The pair met in 2005, through EMI, working together on Mark’s album track Rapture Riders, mixing Blondie (Rapture) with The Doors (Riders on the Storm).

‘Working this way forces us to be image conscious, quite literally’ says Graham, ‘as well as being driven by the beat and melody, we’re having to think visually.

It’s absolutely like editing a movie and producing music at the same time!’Graham and Mark’s shared passion for film and music, plustheir parallel journeys through VJ and mash-up DJ cultures, have brought the guys to where they are now; entertaining audiences and winning new fans by playing and making music their own way, audiovisually.

Addictive TV’s latest long-term project – ‘Orchestra of Samples’ – involves filming musicians from around the world to create, well, exactly what the title says – an ‘Orchestra of Samples’ !
www.addictive.tv

Ikonika (Hyperdub,/ Planet Mu)

admin — Wed, 25 Apr 2012 17:41:22 +0000

With her brilliant debut release ‘Please’, Ikonika firmly established her place in the Dubstep landscape. Her unique sound continued to progress with further releases on Hyperdub and Planet Mu, as well as a stunning remix of DJ Mujava’s ‘Township Funk’ (Warp).

Ikonika’s music combines melodic synth patterns, driving drums, melancholic sub bass and unorthodox song structures, simultaneously heartfelt and heavy. Her tracks have been supported by everyone from Kode9, Martyn and Mary Anne Hobbs (BBC Radio 1) to Rob Da Bank, Benji B,
Giles Peterson (BBC Radio 1) and Flying Lotus. As an in demand DJ, her sets showcase the constantly mutating underground sounds of the UK, spanning from the freshest Dubstep and Funky dubplates to the classic foundations of House and Garage. With the release of her debut album ‘Contact, Love, Want, Have’ (Hyperdub), a raft of remixes and a busy DJ schedule, Ikonika is certain to fulfill her potential as one the UK’s brightest stars.

DJ Mag:
“If Bjork made dubstep instrumentals, this is what might come out”

The Guardian:
“Ikonika melds the genre’s juddering bass with Aphex Twin-style melodic mischief”

NME:
“Another extraordinary Hyperdub artist is Ikonika”

Pitchfork:
“A production style that seems to be approaching synth melodies in an original way”

www.myspace.com/ikonika

Blatta & Inesha (Freakz Me Out / Lectroluv )

admin — Wed, 25 Apr 2012 17:41:11 +0000

B&I define themselves as “the missing link between Techno and Electro”…They’ve aptly named it “Techno Nouveau”.
Currently remixed the legendary Plump Dj’s, a remix for Meat Katie on Lot 49, freshly finished remixing Pink Is Punk on Universal Records, two recent releases on Dim Mak including a collab with their French brothers Mustard Pimp, remixed GTRONIC on Lektroluv with numerous weeks in Beatport charts, remixed Benny Benassi (Maybb) on Kitsune and being included on a Sony BMG compilation alongside Crookers, it’s no surprise that Italian duo Blatta & Inesha were slated by XLR8R magazine as ” Among 6 of Italy’s top party rockers.” including Crookers, Bloody Beetroots, Congorock.

With an upcoming track on Dim Mak in February 2012 and a new collaboration track with the LA duo Casino Gold their bass driven Techno Electro has been blasted around the world. Whether its them headlining massive tastemaker festivals like Marsatac in France playing for 10,000 people alongside Mr. Oizo and Erol Alkan and World DJ Festival in Seoul – South Korea or at super clubs like Womb in Tokyo or top tier DJ’s dropping their tracks, topping industry charts, or tuning in to hear repetitive plays on BBC radio 1 shows Kissy Sell Out and Annie Nightingale or on heavy rotation on DeeJay TV.

Having toured North America three times in the last years hitting major parties/cities like Dim Mak tuesday, Faktory in Toronto, D.C. with Steve Aoki, Chicago, San Fran, NYC Trouble & Bass and Webster Hall, Gotta Dance Dirty in Los Angeles, Takovr in Orlando, Throwed in Boston, San Diego, and essential clubs/cities on the Euro circuit like Social club Paris, Fabric London, Fuse Brussels, Magnolia Milan, B&I are poised to take their project and tour to the next level.

With Inesha’s history in turntablism and hip hop and Blatta’s in Rock and roll melting together to create releases on Kitsune, Mental Groove, Dim Mak, Lektroluv, Warehouse, Crux etc… have set them heavily in the techno / electro scene.

Recently the boys hailing from Sicily have turned their bass music sound into an underground music phenomenon across Europe and US after receiving a 5 star review in DJ Mag “ No doubt on heavy rotation by Boys Noize…” Solidifying B&I’s propensity for techno they collaborated on a track with Calvertron, which has won a spot on Lee Mortimer’s new Warehouse compilation that includes tracks also by Laid Back Luke.

Splatters of sweat, chaos and anything from techno to electro to 70’s Italo disco are the ingredients for their shows and reason for their constantly growing popularity and overwhelming fan base.

Electro and techno is not the only place they are known for their talents. They have been commissioned to remix top indie pop acts such as Pony Pony Run Run, Telepopmusik and Axel and the Farmers which all have enjoyed time as Hypem’s #1 favorited tracks. As well as a recent team up with Italy’s budding hip hop superstars Videomind. B&I created a remix that will be the bands first single to drop for the new album while Videomind dropped some rare lyrics for a B&I original. With a week of video production complete the track is set with MTV Italy to be on regular rotation.

Lee Coombs (Thrust recordings)

admin — Wed, 25 Apr 2012 17:39:40 +0000

Bending boundaries and ignoring the status quo – where would the electronic music scene be today without Lee Coombs? For over a decade this British producer has been at the forefront of it all; releasing groundbreaking mix CDs, remixing the world’s most acclaimed artists and knocking out dancefloor destroying productions that are considered classics years after their release.

A seasoned veteran, Coombs first hit the DJ slopes in 1989, bathing himself in the acid house scene at parties around London and Cambridge. Crucial in shaping his all-encompassing approach to DJing and production, this boundary-less approach would become Coombs’ trademark, mixing up breaks, house, electro, techno and acid with dexterous assurance.
In 1998 Coombs made his first massive strike on the breaks scene as the prized recruit of then ‘up and coming’ label Finger Lickin’, with the man’s acclaimed album of 2001 ‘Future Sound of Retro’ signalling his arrival on the world stage. The album struck a chord within the dance music community, so much so that respected industry figurehead Pete Tong noted him as the ‘man to watch’. An ‘Essential New Tune’ accolade soon followed courtesy of Tong, with Coombs’ re-rub of Quivver’s ‘One Last Time’ making dance fans weak at the knees the world over.
Such was the demand for Coombs, that luminary Paul Oakenfold was soon knocking at his door, resulting in the critically acclaimed Perfecto Breaks album of 2002. After landing the job of remixing Oakenfold’s ‘Time of your Life’ and then further re-rubs for world class acts such as Moby, New Order, Lamb and Planet Funk, Coombs’ status as one of the industry’s most in-demand artists quickly developed. Even the BBC was under the Coombs spell with them flying him over to Prague in the summer of 2003 to record the theme music for the television program ‘Born to Win’ with the Czech Philharmonic Orchestra.
Ever the musical innovator, Lee Coombs’ 2004 album release ‘Breakfast of Champions’ signalled a significant evolution in his sound. Collaborating with some of the most respected artists in his field – from Dylan Rhymes to Christian J, Andy Gardner (Plump DJs) and Jem Panufnik (Soul of Man), the album charted the ambitious new territory of Tech Funk, injecting the Breaks sound with butt-shaking elements of House, Electro and Techno. It was a style Coombs would make his own, alongside fellow innovators Meat Katie, Elite Force and Dylan Rhymes. Featured on the acclaimed album was the cracking single ‘Shiver’ (feat. Katherine Ellis) which was snapped up by classic house imprint Azuli and became one of the biggest vocal house anthems of 2005, whilst the ‘Alright All-Night/Dubhead’ and ‘Obsessional Rhythm’ singles went straight to no.1 in the DJ Mag Beats & Breaks Chart.
Departing Finger Lickin’ for new pastures in 2005, Coombs’ focus shifted to releasing music through his own Thrust Recordings imprint as well as Adrift and Meat Katie’s Lot49 (then Whole9Yards). It was at this time that he started his ‘Thrust’ club nights in San Francisco, with the quarterly events becoming one of the hottest tickets in the Bay Area. He also formally joined the Lot49 team, mixing the label’s compilation Lot49 Presents – Lee Coombs.When he is not in the producers chair, Coombs regularly tours all corners of the globe and is a bona-fide fan favourite throughout Europe, the USA, Australia, Asia and of course the UK. His popularity has also ensured his repeat appearance at infamous festival ‘The Burning Man’ in the Black Rock Desert of Nevada.Coomb’s latest artist album entitled “Light and Dark.” Was released in October 2009 on Lot49, Coombs views this as his most ambitious project yet with a range of tempo from 100 – 128 bpm. While still dancefloor focused, collaborations with the likes of Seasunz, Katherine Ellis, Uberzone and others help push the albums boundaries and showcase Coombs’ abilities across multiple genres.2010 saw Lee move back into the T.V. music world when Absolut Vodka asked for his services with their ‘Absolut Night’ campaign. In 2011 they also asked Lee to write the music to their ‘Absolut Blank’ Campaign which includes ‘behind the scenes’ video soundtrack and an Electronic version of their currently worldwide showing ‘Absolut Blank’ T.V. ad. Lee’s ability to create music that fits any kind of film or game is becoming widely known throughout the industry.
In a world that’s so often governed by trends and fads, Coombs’ unwavering ability to simultaneously destroy dancefloors and push musical boundaries over 20 years since he first touched a pair of turntables is a remarkable achievement in itself. There’s little doubt that his impressive sonic skills will be rocking ears for many years to come.

Notic Nastic (Notic Nastic distribution Shitkatapult)

admin — Wed, 25 Apr 2012 17:35:49 +0000

Notic Nastic are an explosive neon cocktail of sugary pop bubbles, sharp vocals and distinctive dark notes.
  The members from New York and Berlin produce twisted electronic sounds and freaky beats. Berlin based, these sensitive little techno aliens prefer to remain anonymous revealing their identity purely through the music.

  Often accompanied by an entourage of glow in the dark dancers and other things that glitter, notic nastic bring a hot, hard and happy live set with playful lyrics and high energy dance workouts that are sure to leave you in a frenzy.  The inspiration for notic nastic stems from an unrest with the music industry and a frustration with the sleepy minds of the masses. WAKE UP! is their message, open your eyes wide and see the truth behind the smokescreen.  Sweet and salty, fuzzy and sharp, notic nastic will free your mind and sync to the beat of your heart.

Soundtherapy (Remix me)

admin — Wed, 25 Apr 2012 17:33:01 +0000

Soundtherapy is involved in the music industry for more than ten years now where she starts countless projects such as: Labels, events and festivals, record shops and distribution, education and dj school. Her obsession is playing records and that obsession follows her all alongs these last years. She gets dj-set shows for all around her town Rome, for Italy and Europe.

Her versatile nature is at the base of permanent changes, those mutations characterized her style and reveals her talent both for live show on stage and for organizing behind the stage. Her debut as a dj is on 2000 and she is resident for more than hundreds of gigs promoted by her label Urban Pressure until the 2008. She play along with international and renownedi international artists such as Adam F, Pendulum, Andy C, Subfocus, Ed Rush, Friction, Noisia and Black sun empire. After 2008 her sound goes slow but it still manly influenced by british and french touch such as fidget, electro, uk funky, 2step and dubstep. She spin both records and cds having a physical approach to the desk and her sound research it focuses on emotional sounds able to sweep the crowd to the dance floor with warm energy.

Daily she works since 2009 for Remix the most recognized records shop in Rome where she do both consultant and developing her project of school of Dj. Her permanent research for new sound experiment found in Remix the right playground. Here she found and appreciate sounds completely diverse from the ones she is used to. Sounds that mainly come from Germany. At the same time she works for Elettronica Romana, one of the most prolific techno label in Rome. Now her sound is more clear and mature. From deep sound she easly come to techno passing from techouse always keep the dance floor burning!

http://soundcloud.com/thesoundtherapy

http://www.facebook.com/pages/TheSoundtherapy/296679987019164

http://soundcloud.com/thesoundtherapy
http://www.facebook.com/pages/TheSoundtherapy/296679987019164

JL (Electrode Lab)

admin — Wed, 25 Apr 2012 17:32:59 +0000

Al festival di Electrode contribuisce fin dalla prima edizione con una particolare attenzione ai generi “spezzati” e una ricerca attenta alle sonorità più significative, risultato del suo storico e multiforme percorso nella musica elettronica.

JL esordisce nel 1998 nei circuiti underground come dj drum’n’bass e fonda con le altre dj, che si affacciavano allora nel mondo del mixing, “Eva Kant dj Project”, un collettivo tutto al femminile grazie al quale le donne dj si fanno spazio nella scena romana illegal imprimendole nuova energia.
Partecipa alla nascita del progetto FRT records, all’interno del csoa Forte Prenestino che dà un forte contributo alla diffusione delle produzioni indipendenti di musica elettronica e, in continuità con questa esperienza, in anni successivi,il progetto Urban pressure, etichetta drum’n’bass, distributore di dischi e crew di dj con cui organizza e promuove a Roma numerosissimi eventi con ospiti di calibro internazionale, molti dei quali realizzati al csoa Forte Prenestino. Il suo interesse per la musica elettronica e la passione per i dischi in vinile si sono inoltre tradotti nella nascita di Vinyl Refresh, negozio di vinili,che per oltre un quinquennio ha costituito un immancabile riferimento per i djs capitolini della scena underground.
Come dj il suo approccio è a 360 gradi, riuscendo a proporre selezioni sempre fresche e originali- con incursioni che spaziano dal dubstep alla techno/electro – apprezzate per abilità nel mixing quanto per potenza e groove.