It was through a love of UK rave music and culture in the early 90s, and bonding with friends over that, which led me to electronic music. I think that was it for me. Once I heard that music I wanted to be a part of it – make it, play it, experience it. It opened a door. I came to DJing a few years later. Arad (my buddy in Lakker) taught me how to DJ, then a few years later how to produce. 

How would you describe your music to someone who hasn’t heard it before?

Electronic, eclectic, raw, percussive, emotive. 

You’ve played piano since you were young. What is the meaning of piano music for you?

I love the piano – so many variations in tone and colour within the one instrument. I think the meaning of piano music for me is beauty. I particularly love melodic piano music that is very beautiful. Like the Aphex Twin piano pieces, Avril 14 for example, or pieces like Für Alina by Arvo Part.

You have released on established labels, such as R&S Records, 47, Stroboscopic Artefacts, Killekill, The Trilogy Tapes, Bedouin Records and more. What is it like to work with the giants of techno industry?  Do you still remember your first big record deal?

It’s been great to work with these labels. Each one has been supportive and cool and I’ve got to work on different types of projects with each – the Bedouin Trax album for Bedouin, Monad with SA and the Lakker albums with R&S – which has great for me as an artist, exploring different sounds and ideas. 

I remember the first big record for me was ‘Spoock’ on Killekill. It took three years for the record to come out after I sent the tracks to the label, but it was worth the wait. 

Your music has a very developed and distinctive style, can you tell us anything about your creative process or production methods?

I do a lot of sampling, and layering of samples. I use things like eq and compression to carve out the most sonically or musically interesting parts of a sound, almost like sculpture. I imagine each track like a 3D space where I place each musical element as an object in that space, like a 3D jigsaw. I keep things really simple in the studio and try not to overthink or overcook. Intention and honesty are more important than technique. 

‘Eotrax’ was launched in 2016 with a stunning release called ”Temple Of The Jaguar”, an 11 minute conceptual track that attempts to explore structure and narrative, texture and tone, taking techno as a starting point, but seeking to move beyond its conventions and expectations.

Over the past three years has the label adhered closely to that initial vision, or has its identity and direction changed over time?

Probably a bit of both. The label hasn’t just released techno. I’m not interested in doing that – I’ve put out techno, noise, ambient, jungle, drone. The next record is an experimental pop / r&b album from a new duo called Zero Years Kid. I am interested in moving beyond conventions and expectations and releasing the most unique and honest music I come across. 

You collaborated with ‘Kamikaze Space Programme’ for you latest release on Eotrax. Tell us more.

KSP is a very talented producer and a lovely dude. We bonded over our love of reese bass in old jungle tunes! We got together one day in the studio to synthesise the heaviest reese possible, and it turned into a session where we made the two ‘Environment’ tracks that I released last December on Eotrax. 

Tell us something about the mix that you have prepared for our 3rd anniversary. 

Did you have a certain concept in mind prior to making the mix?

It’s a club oriented mix. I recently heard two DJ sets – by Arlen from Nyege Nyege Tapes and Kasimyn from Gabber Modus Operandi – which really inspired me. They were super fresh and fun and full of energy. I had been feeling a bit tired of club / dance music recently but these sets reinvigorated me, and got me thinking about what dance music means to me and what I’m into right now. This mix is a reflection of that. 

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Be yourself. You can make music that nobody else can. That’s a special thing. Remember it. It’s standard and oft-given advice, but it’s so important and so easy to lose sight of. 

Also, be consistent, be grounded, have interests and friends outside of music, learn patience, look after your mental, spiritual and physical health. Remember why you love music and what brought you to it in the first place. 

Thank you Ian for giving us insight into how you balance your personal and professional life.

No worries! I’m not sure if I have the balance yet, it’s a constant process.