Your journey into music was shaped by your father’s keyboards—he was a pianist and musician— and you picked up the guitar at 11 by watching your brother. How do these early family influences and classical music roots come through in your approach to techno? Is there an orchestral vibe or some lingering spark from those early years that you weave into your sets or production?

Music was always around at home. My dad was a pianist, and my brother played guitar, so I grew up watching and listening.I picked up piano already when I was 6 and the guitar myself when I was 11, and started drifting between classical music and rock. That mix definitely shaped the way I approach music today. In techno, I still carry those harmonic layers and sometimes even a bit of drama. Whether I’m DJing or producing, I try to tell a story and I think that comes from those early days!

Coming from Mersin, a port city where cultures collide, you immersed yourself in the classical scene at the Mersin Fine Arts High School, studying piano and cello. How did this environment shape your sound? Do you still carry any of those classical elements, rhythms, or sonic textures with you when you’re behind the decks or in the studio?

Studying piano and cello at the Fine Arts High School really grounded me in classical music. That training still shows up in what I do today. Even when I’m mixing heavy, driving techno, I think a lot about phrasing, harmony, tension, and release things I learned back then. Classical music also taught me discipline, which I carry with me into every part of my creative process.

Turkey, sitting on the border of the Middle East and Europe, has a front-row seat to the world’s most complicated conflicts. From the Ukraine war to the Israel-Palestine situation, how do you view your home country’s role in this geopolitical whirlwind? What impact does its position have on the music scene and on the broader social and political dynamics?

Growing up in Turkey, you can’t really separate daily life from politics. It’s always there on the news, in conversations, even in the way people move through the city. That kind of environment definitely shaped me. It made me more emotionally tuned in, maybe even a bit restless at times.I think that comes through in my sets. Music has always been a way for me to release all that, to process what’s going on around me without having to put it into words

You’re passionate about artists like Phil Collins, Guns N’ Roses, AC/DC, Judas Priest, and Dream Theater (also, legends). Are there moments in their music—whether it’s complex rhythms, bold structures, or dramatic shifts—that you try to channel into your techno sound?

I grew up listening to all of them. I was obsessed with the energy, the storytelling, the drama. With bands like Dream Theater, I got really into complex rhythms and time signatures that definitely influenced how I think about structure in techno. And then someone like Phil Collins; he’s a master of emotion and dynamics. Those shifts between softness and power, or tension and release, really stuck with me. I don’t try to copy any of it directly, but that spirit is always there. I love building tension slowly, surprising people, or throwing in a moment that feels almost too emotional for the club. But of course all the music genres that I interested, itself shaped me how I think right now about my music or sets.

You’ve mentioned you like speeding up slower tracks to reveal hidden gems. What’s the most unexpected track you’ve cranked up or slowed down, only to have it work surprisingly well?

Actually, I’m more into slowing down fast tracks. There’s something really satisfying about giving the bass and the kicks more space to breathe it shifts the whole energy. When you slow something down just a little, you can uncover textures and grooves that aren’t as noticeable at higher tempos. It creates this unexpected depth, and suddenly a track you’ve heard a hundred times feels brand new. I love those moments! For example slowing down the track from  Amotik – Adsath is one of them.

Your first EP, Bordo (2020), dropped in the middle of the pandemic. Stuck in isolation without a work permit and lots of time on your hands, how did this shape your creative process? Did music become your bridge back to the club scene and human connection during those crazy times?

In a way, that covid time stillness gave me space to finally focus on production. Making music for me was more about processing everything I was feeling. There was a lot of introspection, a bit of loneliness, but also freedom. That EP felt like my way of reconnecting with myself and eventually, it helped me reconnect with the dancefloor too!

Since your debut in 2022, Berghain has been a landmark in your journey. How have you evolved as a DJ with each performance there? Which set stands out: your first time in August 2022, the 19th- anniversary event in December 2023, your epic New Year’s Eve set, your first closing performance in August 2024, the 20th anniversary in December 2024, or International Women’s Day in March 2025?

Every single set at Berghain has been special in its own way. 19th anniversary was the most unforgettable and my closing! But there is also a lot happened and a lot of set that I went completely crazy big emotional moments.. I can’t really pick one each one meant something different and helped me grow in a different direction. But more than anything, it’s the only club that’s ever made me feel like I was truly home!  I felt that right after my first set not just through the crowd’s energy, but also through the connection I built with the whole club team. There’s something deeply emotional about playing there..  it’s not just a gig, it’s a dialogue, a trust, a feeling of belonging

Your EP for Key Vinyl, Kostantinopolis (2024), merges funky rhythms, soulful vocals, and an emotive atmosphere. What inspired the sound for this project? Was it a clear concept from the start, or did it evolve more organically as you created?

The process behind Kostantinopolis was very intuitive actually I didn’t start with a fixed concept it kind of revealed itself as I went along. I was experimenting a lot with rhythm and vocals, trying to find a balance between something raw and something emotional. The idea was to create a space where groove and feeling could meet. Some tracks were built around a vocal loop that just stuck with me, others came from jamming with synths until something clicked. It was one of those rare moments where everything just flowed. Also put the name Kostantinopolis felt like the right word for something both personal and historic, both chaotic and beautiful. It’s a city of layers, (today’s Istanbul) and that’s how I saw this record too :)