his first residency came at nineteen — two years of weekly sets at a now-closed club in navigli. it was there he developed what people would later describe as his signature approach: no warm-up, no cool-down. sets that enter at full intensity and sustain it. a refusal to cater to arrivals or departures. the room you walked into was not the room you'd walk out of.

"the room you walked into was not the room you'd walk out of."

by his mid-twenties he was traveling. berlin first, then amsterdam, london, new york, tokyo. each city taught him something different — berlin gave him patience (six hours is not long enough), london gave him rhythm (the crowd IS the instrument), tokyo gave him silence (what you don't play is as loud as what you do).

his production work came later, and deliberately so. he didn't want to make records until he knew what he wanted to say. the first release came in 2019 — a 12" on a small berlin label that sold out in 48 hours and hasn't been repressed. scarcity is part of the art.

"scarcity is part of the art."

today he splits his time between milan and berlin, refuses to play more than three times a month, and is reportedly working on a debut album that he has been nearly finished with for two years. his booking agent describes him as the least difficult person to work with and simultaneously the most demanding. he takes that as a compliment.