Interested in having me perform at an event? Since I presently handle my own bookings I have prepared this page outlining what I offer, what motivates me, and my requirements for any prospective booking.
First of all, be sure to specify which project you are interested in booking. I am available to perform more than one set at the same event. A rough overview of the scope of each active project:
- Synaptic FX: cutting edge progressive house, psychedelic techno, deep house, nu-disco, indie dance, and related styles within 120 to 130 BPM. If you’re looking for something current and dance floor-focused with a major label affiliation this is the project you’ll want to book.
- DJ Basilisk: classic electronic dance music with particular emphasis on Goa trance and psytrance, creative excursions into lesser-known sounds from the archives, various forms of psychedelic downtempo and chill. The scope of this project is quite broad, so feel free to discuss your concept if you’ve got something specific in mind, otherwise calibrate your expectations to “surprise me”.
- I also have a secretive project dealing in hypnotic techno, IDM, and more experimental sounds, available upon request.
DJing is not my career so I’m rather selective about what gigs I accept, particularly when playing overseas. I am interested in DJing mainly because it provides a way to share my passion for electronic dance music in the context for which most of it was intended to be enjoyed and appreciated, not because I aspire toward stardom. As such, I am not interested in compromising my artistic values just to get my name out there, nor am I willing to make some of the sacrifices new DJs commonly make for the thrill of being on stage. Essentially, I don’t need to play out, but I’m happy to do so if conditions are conducive for practicing my art. For me, an ideal gig is probably at night or just before daybreak, at a well-organized even with a smoke-free dance floor, on a clear and powerful sound system, with plenty of airtime to sprawl and explore. Obviously you can’t always get what you want—but if this is close to what you envision I will be more interested in working with you.
- I strongly prefer playing longer sets of three hours and up, with two hours as an absolute minimum. I can make some exceptions to this rule for local gigs (within a half hour taxi ride of wherever I’m based at the moment).
- My performance fee is negotiable, but at least make an offer soon after we start discussing a potential booking. I am absolutely not willing to perform for free so don’t waste my time inviting me to a festival without the budget to properly compensate performers. (It’s amazing how common this is!)
- My equipment needs are meagre; mostly I require enough space to setup my laptop and controllers, and this sometimes requires moving CD decks and other gear out of the way. I appreciate the opportunity to do a sound check, but it’s not strictly necessary.
- Please be sure to communicate any expectations of style or tempo up front while negotiating the booking. I’ve sometimes found myself in awkward situations where I performed a set that was not what the promoter was hoping to hear, but I don’t read minds. If you want something specific you need to ask, otherwise I’ll use my best judgement. Without any specific guidance I tend to study line-ups, learn what other performers are playing, and do something different, so if you’re aiming for more uniformity this is something I need to know.
- I do not play opening sets at regular club nights (with very few exceptions); I’ve paid my dues.
If I need to travel more than two hours to get to a gig I have some additional terms:
- If we haven’t already worked together 50% of the performance fee must be paid in advance. This payment must be received before my name is displayed in any promotion or marketing for the event.
- Transportation costs must be covered in full. I don’t mind taking a bus or train to a gig, but if air travel is necessary I also require a confirmed round-trip ticket prior to public confirmation of the booking.
- Some help with transportation to and from the venue if it’s not simply a taxi ride away.
- Comfortable accommodation. It doesn’t need to be a posh hotel, but I do need some privacy, a hot shower, and a place to get proper sleep so I’m able to bring my best on stage.
- All necessary visas and work permits must be provided for overseas gigs.
Finally, it is worth noting that I promote my own gigs through various social media channels, and can reach more than 150,000 people through Facebook alone. That being said, I am more likely to promote headlining rather than supporting gigs.