I have made music and been intimately interested in computers and how they work in some capacity since I was a child. There wasn’t a conscious switch from one to the other. I still love both. But things got more serious for me with electronic music when I moved to Berlin from San Francisco. I left to quit the tech world there. I didn’t feel like I really belonged in that hyper-capitalist incubator start-up world.

It doesn’t seem that quick, I suppose. My first few records were just released by friends of mine in San Francisco, which felt very natural. In the beginning, I felt a bit of anxiety because my music didn’t quite fit into a style or a scene so much, but now I’ve realized that’s actually fantastic.

I absolutely loved working with Hayden Martin, Josha Eiffel and Felix Silvestris, and I definitely want to collaborate with them again in the future. Also, on a very high level, the designer behind the general visual identity of the Whities label, Alex McCullough, was involved in the creative direction. Hayden and Alex worked on the treatment for the video to be shot in the Kew Gardens, and to weave in aspects of the 3D mesh grid and stock photography to get a beautiful melding of the organic and inorganic. We shot for a couple days, with each person bringing their own particular camera and editing techniques. I am so happy with how things turned out.

It’s a challenge to be constantly ripped away from home for a few days every week. Being in airports constantly gives me a strange feeling of floating above cities and life. When I leave for the weekend, sometimes I just feel like a little salmon swimming down a stream. I’m quite social when I’m home though, and make time for dinners and hanging out with friends and family.

This has been a really dark winter, I think. I feel like a lot of people have simply lost their damn minds – myself included. I’m working that into my music right now. Ups and downs, but mostly downs.

I’d actually say it’s quite gendered, but I don’t think genderlessness is something to necessarily strive for. Blind heteronormativity and the patriarchal boundaries of the roles of genders, though, do need to go. Anyway, Berghain started as a club for gay men. I do love playing here and being a part of the queer history of the place, both as a DJ and a dancer.

De School was born from some of the same people who did Trouw, its predecessor, which was also a club with a short and predetermined lifespan of five years. It’s difficult to put into specific words about the secret sauce of De School, but I’d say first and foremost, the people who are involved at every level are some of my favourite I’ve met in all of my dance music travels. I also love how they hold art exhibitions and special installations as well as club nights, and the restaurant is fantastic. Everything makes sense and is balanced, so the combination of all these different factors just works and makes it the special place that it is.

Everything I’ve been doing is going toward a new project of my own right now, so I’m keeping my mind and creation aims open, so no, not just dance music.

My dad let me take home his white American Stratocaster. I’ve been fawning over her for years.

I finally upgraded my studio computer, so she’s the love of my life right now.