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Hometown: Los Angeles, CA

Favorite music released this year: TYLA - TYLA

Ahead of the AMOR DIGITAL show on MAY 25, we caught up with BROWNSKINHAZEL, the multidisciplinary LA-raised artist behind YOU, a standout underground club night.

Performance artist, DJ, Mover, Director.


Q: How did you get started in music?  

A: I started acquiring my cunty musical taste and djing style at a queer party called MUSTACHE MONDAYS. MUSTACHE MONDAYS was a decade long running queer party that convened in downtown Los Angeles every monday. 

The party organizer, Nacho Nava (my queer father), was the first to let me perform and DJ there under the moniker BROWNSKINHAZEL . I was formally taught how to DJ in a DJing crash course facilitated by Helikonia and JOSH PEACE.

Q: Any early influences that stick out to you?

A: All my early DJing influences come from MUSTACHE MONDAYS: JOSH PEACE, TOTAL FREEDOM, ASMARA, KINGDOM, NA, KELELA. These people influenced the kind of music I would later find affinity for years later; the club kid to DJ pipeline.

Q: How would you compare your creative process as a DJ vs the creative process of your other creative endeavors?

DJing is a very focused and anal creative process for me. It's also dynamic. When I create a mix it can take around 3-6 months, sometimes maybe more. I overthink and analyze my mixes a lot. I always want to push my djing style, skills, and the range of music I play.

I love honing in on seamless transitions and the perfect timing of when to do it. When you do this kind of meticulous labor you can see and feel it by how party people will respond to it immediately. How can I bridge this genre with this other one that might feel desperately disconnected to the normal listener. 

I also think of my mixes as hardcore creative essays and obsessive realist paintings. Not sure if that even makes sense. When I mix live at a party, a lot more pressure is off my shoulders but I'm still a bit on edge. 

With performance art I feel like I'm way more fluid and free. When I'm performing I am a lot more welcoming to failure, mistakes, going off script and burning it all down. I haven't gotten there yet with DJing. I think I still have to earn my stripes there. 

Q: What should people expect from one of your DJ sets?

A: The best way to come to a BROWNSKINHAZEL dj set is by preparing to lose your mind, shake ass, vogue down,  celebrate your body, fall in love, buy your friends shots, and feel the godliness that is the power of music. QUEER AND TRANS PEOPLE TO THE FRONT PLEASE! <3


Name: Tal Robinson 
Place of Residence: Oakland, CA
Favorite music released this year: HARMONY by bastiengoat, Get Up by NewJeans, CLUB BOY by YUNG PRADO  


It’s almost impossible to be interested in electronic music in the Bay Area and not feel Tal Robinson’s influence and impact. This rings true on multiple levels. Tal curates some of the best shows in the Bay featuring an impressive roster of local and global talent. Through their NO BIAS imprint, they release music from local standouts like bastiengoat, Bored Lord, Tomu DJ and Soeneido. As a producer, Tal’s versatility and range is singular and serves as a reflection of the Bay’s red-hot, boundless and collaborative spirit they’ve had a hand in cultivating. 

And on a physical IRL level, you’re almost guaranteed to have seen one of many NO BIAS flyers out in the wild in front of your favorite venues -- the street team icon-nery can not be denied.

We recently caught up with one of the Bay Area’s best and brightest to talk about early influences, journeys in music production and NO BIAS’ future projects.

Q: What are your earliest memories of music? What kind of music was played at home growing up?A: Earliest memories are probably listening to my older brother DJing records in our garage REALLY loud. He was a raver and DJ... always DJing at the house..... super into house and drum and bass. 

Besides that there was the music my parents listened to. My mom liked contemporary stuff like D'Angelo, Maxwell, Common, Mos Def... my dad strictly listened to KCSM Jazz radio lol. I hated jazz when I was a kid. 

My older sisters were listening to N'SYNC, Spice Girls, TLC, Mya, Brandy.  There was also that Electronic Pop music coming out of the UK like Craig David, Basement Jaxx, and Daniel Bedingfield

I guess I was taking in a lot of music. 

Q: How did you get started as a producer? Especially curious about your transition from a more lo-fi hip hop sound to electronic music?

A: My brother got me a Zoom Sampletrak ST224 when I was like 12 or something. I remember sampling the rocket power theme song out of the TV. I couldn’t really figure out how to make full songs on it. I was just making weird loops.  

Later he got me a pirated copy of reason and showed me how to sample and make rap beats. I think I started to produce music seriously when I was like 18. I also started DJing around that time. I was making disco house and dubstep. lol. 

At some point I got kinda annoyed with EDM, and around that time a friend showed me Dibia$e, Madlib, J Dilla, Samiyam, and SP-Forums. I got really into beats and making weird aliases and posting them online. That's when I came up with RITCHRD. It just seemed like some random generic name. I was totally in that world for years. 

Then around 2018 I started going to raves again and I got interested in DJing and releasing dance music.

Q: How do you balance staying true to a particular genre while working in new techniques, sounds, etc?For me, staying true to a genre means understanding its history and the cultural context that it came from. I think reading and watching videos about dance music helps me do that. 

So I’m doing random ass shit when I’m making music and trying new things, but it's all guided by my (limited) understanding of its roots. I’ll never know everything, but I’m trying my best to contextualize everything. idk.

Q: How would you describe the similarities and differences between the first NO BIAS show and the latest NO BIAS shows? A: The first No Bias show was a collaborative renegade with A Luv Dream. I just wanted to throw a party and book people I thought were doing cool stuff. 

A goal has always been to present the event in a professional way, but still have that underground energy. I think that intention is similar between the first and last party. The flyers are the same too (shout out to shireen <3). 

I think the biggest difference is that I’m not throwing renegades anymore. Its just too much work for one person.

Q: Is there a particular NO BIAS release or show that stands out to you?A: A release that stands out is CM-4’s. That was the first one with Shireen’s template for the art. I feel like that started a new phase for the label.

A show that stands out is the HOUSE MUSIC (lol what silly a name) party we did in February. I was kinda worried people might not pull up. I was thinking people only wanna hear rave bangers. But the turnout was great. 

A lot of people said that the show made them appreciate house music more.

Q: Any upcoming projects or new challenges you're looking forward to taking on? A: I’m looking forward to releasing a label compilation in January. I also hope to do a label party in NYC but I have no idea if or when that will happen. I wanna make more clothes too.


I think it’s easy read books or watch lo-res videos from the early aughts, the ‘90s, etc and think that the Bay Area was a better place back then. And in many ways I’m sure it was.. I mean, shit, cheaper rent, less techies and tons of real freaky shit going on? Sign me up tbh. 

Nostalgia can be poison though and I don’t want to live every day thinking about how much better shit was before I was even old enough to take part in anything. Also, inevitably it probably wasn’t as good as we imagine it. And it especially wasn’t good for some of the most marginalized people in society who are still being targeted *today* — I can only imagine how it would’ve been in an era before bigots were confronted about their ignorance in real time. 

I consider myself an artist and so I admit that I view the Bay — and every city — through that lens. When I go to a new city, I imagine how it would be pursuing music in that city. Would I find more gigs? Would I get paid more? 

When I’m in the Bay, I think about the ways the scene here helps me and how it hurts me. 

What I can say without hesitation is that electronic music — that big ass umbrella term covering everything from massive jungle records to whatever Latin club permutations we deal with at AMOR DIGITAL — feels like it’s in a really beautiful place. Maybe I’ve been around creative spaces for long enough to let my guard down or I’ve been better about surrounding myself with genuinely cool people but there’s a sense of collaboration in the Bay’s electronic music scene right now that I really fuck with.

Between all of the Internet radio stations, all the party crews and everyone else creating something out of nothing, the Bay’s in a great place. It’s hard to see sometimes, especially as we collectively fight for the crumbs left behind in the shadow of tech conglomerates but that spirit of connectivity is still here. At least in the ~underground~ 

Sadly, it’s very easy to point out everything that really fucking sucks here too. In a few words, the rent is too damn high. And that’s across the board and affects us all in ways more profound than we might ever really fully grasp. Venues shut down, others are opened by people with tons of money who subject us to their music taste — typically really basic tech house from touring European DJs. And you can’t really blame them, at the end of the day they are running a business and if there are a sea of bubble jacket wearing mf’s willing to cash out on that, that’s what they’re gonna give. They have rent to pay too you know? But that dynamic exists in most cities. 

What *is* severely lacking here are medium and small sized venues that actually care about the local scene in tangible ways. 

And those spaces are feeling the squeeze because people are drinking less and there are fewer and fewer people going out on off-nights (And don’t even get me started on 2am last call). And then the cycle perpetuates itself until those spots either crash out or start turning into the annoying places they said they wouldn’t become. 

In the wake of the Ghost Ship fire, truly DIY underground spaces are pushed to the legitimately most extreme margins and are under more scrutiny and surveillance than ever. That’s a real doom loop! I don’t give a FUCK about Nordstroms where the fuck can these truly innovative artists showcase their work for literally hundreds of young people in a way that is fun and sustainable? 

They ask why youth depression is up and then outlaw listening to music outside or without a permit LOL having fun in a way our tech overlords can’t monetize or regulate? punishable by D34TH

What hurts the most though is that everyone leaves, eventually. In the Global South, when the most educated or talented people leave looking for opportunities in the Global North, they call that a ‘brain drain.’ Idk what you call the equivalent of that for dope artists uprooting to a new city in the US, but I feel it so deeply in the Bay Area. This has probably always been there -- that lil fog lingering around us in the Bay -- but it feels much more real now that I’m situated within the creative community here.

In the past three months, more than a handful of artists I truly admire have told me about plans to move somewhere else — typically New York and LA.  Every time someone has told me, I’ve thought to myself “yeah that makes sense.” At the end of the day, if you’re an artist you want your stuff to be seen, you want to be fairly compensated, you wanna be inspired by what’s going on around you. 

Maybe I’m cursed to be a romantic about the Bay Area but it’s hard for me to imagine not trying to make it work here. But at what cost?? So I empathize with everyone who leaves, I really do. 

It’s really up to us to make something sustainable because our local governments have proven time and time again they’ll prioritize robot car company payouts to politicians over the culture being created right the fuck here. 


Date: 12 SEPTEMBER  ‘23
Location: SF (Excelsior)

When I thought about what “making an album” looked like, my mind always jumped to those warm, staticky behind the scenes clips featuring  people like N.E.R.D., Timbaland, Jay-Z and Kanye West during the early 00s. I can set the scene for you if you’ve never seen one. Usually, there’s a big mixing console, dark walls and some remnants of whatever food the artists’ assistant had brought in. 

To be fair, there are still plenty of artists who make albums in this way. I’d be lying if I said I don’t still hope to make an album this way. 

But I feel thankful to exist in a time when you can really do everything at home — even if that means a sink full of dishes or Youtube on your living room TV can pull you away from the creative process when you LEAST need the distraction. 

I made MIATA completely from the white desk in the corner of my living room using Ableton and a bunch of VST plug-ins.

I don’t have access to a lot of synths, keyboards or expensive hardware. I don’t find I need them either, even if I do find them fun to fuck around with. There’s always going to be something cool about physically twisting some nobs and hearing the machine’s response.

The idea for MIATA centered around a pretty simple idea. I started a song on Ableton and hurriedly named the project file SUBURBAN ANGST. I’m not even sure if that song even ended up on the EP. I use random working titles for songs that end up being named something completely different by the time the music comes out. It can get hard to keep track of something on a hard drive that has like eight different names.

I remember thinking about the time in my adolescence when I felt the most alone but also the most free.  Moving from the Bay Area to the Sacramento area made me a very specific kind of angsty that I’m actually really thankful for in retrospect. For me, there was always a “world out there” outside of this very blessed but relatively stifling suburban experience. I understand why my parents made the decision but it did create a desperate need to search for something else. The *yearning* started hella early, my guy. My whole family was still in the Bay or in Miami but in a way, I’m thankful I was able to become my own person without a ton of influence from my very big and confusing extended family.

My last two years of high school, after I got my driver’s license, I would drive my Dad’s Miata on random routes around suburban Sacramento. Any extra money I earned from my job working at an Apple warehouse or a movie theater went towards gas and snacks at random pit spots along the way. My cassette-to-iPod adapter was always plugged in and you could expect to hear a heavy dose of blog era rap music ripped straight from Datpiff. 

That was a long time ago, but now just a few months removed from leaving my longtime job amid a wave of genuine BULLSHIT, I found myself in a situation that brought back similar feelings. I spent the first couple months of relative unemployment obsessing over MIATA. Working on those four tracks served as a much-needed outlet from the uncertainty and alienation of young adulthood in weird ass late capitalism. If aimless late night car drives in the ‘10s were MIATA’s inspiration, long nights  working on music in ’23 wondering where all my friends and colleagues in ~art~ went were the fuel to the fire.


Listening to this song now, I can see how deeply I’d fallen in love with the Korg MS-20 V VST via Arturia. I layered some rain sounds from my last trip to El Salvador. If you’re even remotely familiar with ‘00s reggaeton, you probably recognize the sample. I’m pretty sure I was listening to Dinamarca’s last album when working on this song and was thinking about ways to incorporate more trance-y melodies over the drums I typically program. 


London Breed’s comments about Hondurans made me so mad because I just couldn’t imagine a “liberal” mayor saying something like this about any other group without way more backlash. I’m so tired of only hearing about my mother’s country and the people who come from there like they’re a plague and not like a people colonized, oppressed and victimized for centuries trying to survive in a world that is actively hostile to them. I added in some Oscar Romero quotes in there for good measure. He’s a saint now but the fascist Salvadoran government had him murdered when he had the audacity to use Catholicism as a force for social good and resistance. I’ve heard this song played out a couple times and it makes me really happy because I was subconsciously really trying to scream out to the world on this one. Central America is the CENTER OF AMERICA, the continent not the country. 


Something for the DJs honestly! And a Lil Wayne sample from a video I’ve never been able to forget — the time he was being interviewed for British press and he knocked over a cup of lean. Early Internet viral moment


Something weird! Something for the freaks! (In a spiritual sense not a physical one.) I make a lot of reggaeton and dembow-adjacent music and I just felt like re-contextualizing those drums to create something new. I was also really into Friday Night Lights when I was in high school so I picked a sample from Boobie Miles’ character in the movie to help tie everything back together to those late night car drives. 


Date: 15 JULY  ‘23
Location: TBA - Oakland (Chinatown)
BAY AREA! We're bringing that neon-soaked, hazy summer energy for SUMMER JAM. 

I won’t use this space to gas up this show or try to sell you on anything. To me it’s more important to express how freeing this show feels! 

In a flattened out, post-post-modern world there really are fewer and fewer “underground” spaces, artists, etc. Anyone with a phone and Internet connection can bubble up and have a moment. 

But “underground” spaces still hold a certain draw because capital and real estate interests converge to make throwing something as simple as a fun party extremely difficult. 

So much of our world has been democratized *except* space! That’s still held on to by a select few and of those select few, even fewer are open to anything actually subversive -- anything not meant to get people drunk, or sell bottle service, or play extremely commercial music. 

That’s why doing shows like SUMMER JAM feels so fucking good. It’s our own thing, thrown with our own friends and our own equipment. 

So, to get into the details, SUMMER JAM is inspired by a vintage feeling. Summer Jam concerts are a staple of hip hop communities all over the country. Radio stations organize these mega festivals that brought out all the best national and local rap talent. 

We drew from this history because this Bay Area summer hasn’t fully kicked off for us yet. If you’ve lived in the Bay long enough, you know it doesn’t really kick in til September but we want this show to be a symbolic launch pad for a scorching hot summer for Bay Area club music. 

We hope you’re able to join us but, deep down in my heart, I *really* hope the whole Bay Area works to create our own spaces and focus our energy outside of the systems we roll our eyes at every day.


Name: Shireen Hashemi 
Hometown: Atlanta, GA
Place of Residence: Oakland, CA
Favorite song/album released this year: Dawg Storm by RX Papi

If you’re even remotely interested in the Bay Area music scene, chances are you’ve seen Shireen Hashemi’s work. She’s produced cover artwork for East Bay artists like Bored Lord and Bastiengoat as well as New York-based artists like DJ SWISHA and the OSSX collective. Her design language is instantly recognizable but hard to pin down, combining elements from old school rave posters, nostalgic iconography and motorsports aesthetics.  This trademark style has made her one of the most sought-after designers working in the ~underground~ music scenes of various cities around the country.

With clients and projects on both coasts who have commissioned her for everything from album artwork, party flyers and physical music release packaging, Hashemi is creating a design world all her own. 

She truly is your favorite artist’s favorite artist. 

We recently caught up with the ascendant designer to discuss her early path in art, her creative process and some highlights from her career so far.


Q: How did you get started as a graphic designer? Any early influences that stick out to you?A: Honestly? Tumblr. When I was in middle school I had an Indiana Jones blog (lol) and wanted to make those cute gifs that everyone else was reblogging. So I torrented Photoshop and taught myself how to make gifs by watching Youtube videos. I guess I did a good job cause that post got me tons of followers hahaha. 

Since I already had Photoshop I decided to play around and make other content for Tumblr. I made a ton of transparent Lana Del Rey stickers...

When I was in high school I took AP Art and for my concentration, I focused on digitally making movie posters. My favorite one I made was this Lolita poster. I posted it on Redbubble and made a decent amount of money from it (even to this day!). From that moment I realized that damn, maybe I'm kinda good at this shit.

In college, I helped run a DIY Design Collective for my college radio station, WREK 91.1FM Atlanta. I learned so much from my peers there and being a part of that collective definitely helped to shape my style into what it is today.

I don't have any particular designers or artists that influence me, but I've always been inspired by old-school rave flyers, graffiti, cartoons, sports, and motorsports aesthetics.

Q: Looney Tunes characters are a pretty consistent motif in your work. What about them do you find interesting as a design element?A: Honestly, I'm trying to move away from using them as much. They remind me of a point in my life that I've outgrown.

I think I've exhausted their use for flyers, but I'm interested in using them outside of digital design work, like maybe in a mixed media situation.

What initially drew me toward them is how often they came up when I was digging through old-school flyers, so I thought I'd give them a go myself. 

What I find most interesting about them is how easily everyone can connect to those characters. They can be traced back to almost everybody's childhood, no matter their upbringing. So it's super nostalgic. 

Including universal design elements like that is almost like a cheat code - they're iconic & memorable. I'm all about accessible design so it makes sense that I would use characters everyone is familiar with. 

Also, they're just cute!
Q: How do you balance creativity with conveying the necessary information on a flyer?This is hard and something that I still struggle with. If it's an event I'm super pumped about, I usually tend to go all out. That excitement and passion fuel my creativity. But sometimes that means I go overboard with the initial draft and will have to go back and make logical revisions because, at the end of the day, it's more about conveying that information in an accessible and easy-to-digest way. 

However, I will push back when a promoter micromanages me so much that the flyer doesn't even look like my work anymore, so to combat that I tend to be proactive by being intentional about all my design decisions.

I do wanna take a moment to shout out Tal (NO BIAS) because since day one they've been the only promoter who's more concerned with giving me all the space to be creative rather than prioritizing flyer content.
Q: Can you describe your creative process when working on a flyer design? A: Honestly, it's a mess! I'm not really the kind of person who plans and sketches out ideas before, and if I do, the final product always looks different than the initial direction I was going in. 

Usually, the first thing I do is get a feel for the vibe of the party. I'll listen to mixes by all the artists in the lineup, look at previous flyers (if any), and ask the promoter for any references that they like. 

From there I make my own little mood board of sorts filled with inspiration. Then I'll pull in fonts, colors, layouts, and imagery that I want to try and go from there. 

Everything from that point on is a blur to me.
Q: How would you describe the difference between designing a show flyer vs. cover artwork for a single/EP?A: It's mostly the same, except I have more creative freedom when it comes to cover art. 

I normally only do cover art for my friends & producers whose work I really fuck with, that way I already have a solid foundation of their vibe, making me feel more confident that I can bring their sound to life visually.

I prefer to do cover art over flyers because parties come and go, but music is forever. 

When I design cover artwork I always keep in mind the longevity of the design, so I find myself aiming to design something that will stand the test of time. I always feel honored when a producer reaches out to me for art because that means they trust me and fuck with my style enough to pair it with their own work, and that's just like...the best compliment.
Q: Is there a particular design or event that stands out to you? A: I love the cover art that I did for OSSX's NO SLEEP EP. It's a perfect combination of all of my influences. 

It really feels like a "damn, I leveled up" piece for me.

This is my favorite EP of theirs so it was such an honor that they asked, I wanted to go all out for it. It's also super shiny and saturated so it's fun to look at hahaha.
 cover artwork by Shireen Hashemi
Q: Any upcoming projects or new challenges you're looking forward to taking on?A: I'm doing a little something something for local superstar Bored Lord, but that won't come out for a while. It'll be my first time doing graphic design for a physical release, so I'm super excited to see how that turns out. 

I've been interested in branching out design-wise. I'm currently working on some apparel designs. 

I also recently found out that my neighbor is a talented painter so I've been getting lessons from him. Everything I've done only exists within the digital realm, and I really want to create something tangible, so that's the next step for me! 

Hopefully, it turns out okay, either way, I'm excited to be trying new things.


Surusinghe is the Melbourne producer whose recent release Get Flutey (released via seminal Australian/British label STEEL CITY DANCE DISCS) has been in heavy rotation since it dropped. A shapeshifting, bass-heavy track with baile funk-inspired percussion, metallic hits and expansive sound design. 

I comb through hella music, looking through dozens of bandcamp and soundcloud pages and a lot of it is fun but forgettable.. LIKSHOT stopped me in my tracks though. Fun to listen to at home and in the club <3  


MAY 2023
Exploration of suburban boredom and alienation in the late ’00s and early ‘10s while trying to forge a new identity that incorporates Central American heritage, rap fandom and club culture.

MIATA is a model of car that was owned by DJ JUANNY’s father during his high school years. It was in this car that JUANNY learned how to drive and where JUANNY would often play blog-era rap music and explore dance music sounds while searching for culture and excitement away from the uniformity of his environment.




Classic ‘00s reggaeton sample paired w club drums and Korg synths.


Korg synths, dembow rhythm and guaracha bass w/ vocal sample from slain Salvadoran religious leader Monseñor Oscar Romero (brutally murdered by US-supported Salvadoran military forces). Also a news snippet from 2022 when SF mayor London Breed was forced to apologize for essentially saying the city’s drug problem was a product of Honduran migrants.


Sample from Lil Wayne interview when he knocked over a cup of lean. Also a Lex Luger riser, a nod to the producer’s run of trap hits in the early ‘00s.


Wanted to use reggaeton drum samples without using a reggaeton drum pattern. Korg synths throughout. Sample from Friday Night Lights about Nike shoes, a nod to JUANNY’s early interest in streetwear + street style.


Life is so cyclical it’s devastating. Writing this fresh off a mini anxiety attack — was it the third coffee or was it the weeks of isolation creeping in or was it the realization my next EP was actually dropping in the morning?

Whatever it is I can feel it physically, the slight tightness on the left side of my face behind my eye.

And for some reason, it made me want to write down my thoughts about this moment in my life. For a few years now, I’ve rejected “writing” despite it being one of the major pursuits of my life. Writing conjured up memories of me in the bedroom I rented on 19th Ave, living with my best friends and having the time of my life while completely self-destructing. Staying up late, drinking bottles of cheap beer, sipping brown liquor and trying to write like my favorite writers — possibly the most annoying cliche of all!

I say life is cyclical because I wrote the most when I felt the most lost in life. And now some years later, I feel this urge to express myself in this way while feeling lost in a completely new (and exciting) way.

As this new EP drops, a couple months removed from leaving my job and all the amazing, creative and insightful high schools students I worked with there, I feel lost again.

But this is a different kind of lost — it feels more like not knowing where you are while visiting a new, exciting city than drifting at sea having no clue where you’re going or if you’ll make it.


Recently I wanted to surprise myself and bought a ticket to see a movie just because I thought the name sounded cool. The Doom Generation. Plus it looked violent and romantic. Violently romantic or romantically violent?? Either way, that’s my shit, apparently.

When I bought my ticket I saw that the director and main actor would be there for a Q&A.

They introduced the movie together along with the costume designer.

The director, Greg Araki, got on stage and the packed theater clapped *loudly* for this man I hadn’t even heard of until today. I felt like I was out of the loop. In that moment, I had no idea he was on the vanguard of ‘90s New Queer Cinema, or helped launch the careers of some of Hollywood’s contemporary stars.

He seemed genuinely thankful and a little incredulous that a movie he made on a shoestring budget in the early ‘90s could generate this kind of response in 2023. This is admittedly hyperbole but I left the theater a different person. Not only was the story highly entertaining, not only were the costumes and cinematography something to base my whole ~aesthetic~ off of, but it really opened my eyes to a whole movement in film I had no idea about.

When all information is available on our phones, it’s nice to be surprised every now and then.

He mentioned that the film, and the others in the trilogy it belongs to, have become cult classics in a way. It made me think about my own creative process.

I would be lying if I said I’m not at least a little nervous about this EP release, about every show we put on, etc. I’m nervous about how I’m going to pay my bills and all the real life pressures and events that can change a person’s life.

I’ve never strived for “mainstream” success which is great because I doubt I’d ever achieve something like that anyway. I might not ever make it rich or be on some top ten list or whatever. But maybe one day I’ll be asked to come do a Q&A for some shit I made in 2023, speaking to the next generation of people bold enough to think outside of the limits placed on them by the society they’ll Iive in.

And It would be one of life’s greatest honors <3


Where do you imagine someone listening to this mix?

This mix takes me back to the rave, the club, when the clock strikes 3 A.M. on the dancefloor and you lose yourself in the heat of the spiral. But since we’re still stuck in quarantine, I think the mix also really works well while turning up at home with close friends trying to let loose and escape from it all, those moments of relief and normalcy that are so important to maintain some semblance of sanity while we ride this thing out. 

Any projects to look out for or a message to listeners? 

I just quit my day job and made some hardware upgrades, so I’m excited to have more capacity to work on production and overall collaboration with other artists. 

I think the future is inherently uncertain for everyone, especially right now, but I feel an undeniable sense of hope that we’ll all come out on top and be pushed in ways that we were never able to even fathom before. 

For now, I think all we can really do is look out for one another, nurture the parts of ourselves that need it most, and ensure our communities have everything they need in order to survive and thrive.

How have you been during shelter in place? Any insights, inspirations, frustrations?

To be honest, I’ve been able to hold down my homestead, but I’m struggling to stay inspired while we’re all stuck in the house for most of the day, and can’t access live music settings in the ways that we’re accustomed to. 

I know there’s hope on the horizon, though, so that’s keeping me going. 

My friends are also extremely talented and are consistently creating some of my favourite art, which definitely keeps me on my toes and pushes me to be the best version of myself in a creative sense.