The 'day job' I suppose is studying as an undergraduate in linguistics at King's College London, where I attend 8 hours of lectures a week and manage to shit out multiple 3000 word essays at the end of it. Like so many others, my love for electronic music can be traced back to the likes of Digitalism, Daft Punk and of course, Ed Banger's nosiest affiliates, Justice, SebastiAn and Mr. Oizo. Soon after, Boys Noize began bridging the gap from electro to techno, and as I explored more, gradually I became introduced to the distinctively more minimal side of house and techno.

If my memory serves me correctly, the purchase of Claude Vonstroke's fabric 46 got the ball rolling for me, opening my eyes to the limitless artistry of more classic techno and house. Several other purchases from the fabric CD series followed, including the great John Tejada's (whom I'll forever be grateful for all his knotted techno wizardry), and it wasn't long before I found myself deep underground in Farringdon for the first time, at the world's greatest nightclub, well and truly seduced by the musical philosophy of the place. Ever since the club has been a driving force behind my musical exploration, as it has been for underground dance music in general, and to this day you'll still regularly find me in Room One on Saturdays.

I would like to think that if I specialized in any specific style it would be minimal techno, although what denotes 'minimal' is debatable, and something I often question. I am absorbed by the most pared down, trippy breeds of minimal, which inevitably led me to worshiping Ricardo Villalobos, in my opinion the most innovative producer and DJ of all time. Aside from Ricardo, I have a close allegiance to fabric resident Craig Richards, a musical figure I have so much to thank for not only in entertaining me in every one of his weekly sets at fabric, but also because of his perpetually forward-thinking approach to fabric's musical programming, which is why the club is what it is today.

Always with a keen eye on what's going down in the basements and warehouses of East London as well as fabric, I confess I probably 'party' a little more than is good for me. Unfortunately though, this is my lifestyle and giving it up would be very difficult. However, I find the sociocultural aspect of underground dance music utterly fascinating, and being part of this culture and this community is a privilege in my opinion.

Everything I write on this blog is for you guys. Thank you.

Dom (sweatonthewalls@hotmail.com / domk27@hotmail.com)

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