Pulswith.

Before there was rhythm, there was Pink Floyd at bedtime; the first language I learned to dream in. My brother spoke it back in strings; I answered in rhythm. We were opposites from the beginning, but we shared the same silence underneath. I’ve been a drummer for over a decade; jazz, rock, reggae, anything with a pulse. Percussion has always been the axis of how I move through music, and from there the slide into production and DJing happened almost without me noticing. I started producing in 2020, in the strange suspended quiet of the pandemic, and stepped behind the decks in 2024. Six months in Amsterdam rearranged something in me. A melting pot of DJ culture and accident and opportunity, hard techno nights at Club Inn, hip-hop festivals in Noord, a city where every corner spoke a different rhythm. I came back hearing things I hadn’t heard before. My mixing is ruled by movement. I drift between the hypnotic and the organic, drawn to hard groove and trance, with house always lingering underneath. Breakbeat and UK garage pull at me too, and I let genres bleed into each other without resistance. Aphex Twin and Squarepusher live somewhere deep in the wiring, the chaos and the precision, the violence and the math. Making music and listening to it have stopped being separate acts; they blur into the same daily breath. More than holding a fixed style, I want my sets to feel like a journey; shifting, breathing, taking turns I didn’t see coming. I don’t know where a set will go until it goes. That’s the part I love. That’s the part I’m still chasing.