approach in the studio, towards the sound we wanted to go for, certain rhythms, drum programming, bass lines -It was hilari-ous, we fought over everything. And it was that tug of war that ultimately created the balance, and sometimes imbalance, of Deep Dish. So for whatever reason, it worked for quite a number of years, and eventually it just reached the end of that cycle and we had to go our separate ways. Ribcage was an extreme departure from anything you did with “Deep Dish” and seemed to be a wholly concentrated dose of you. What state of mind were you in when you created Ribcage? I had a range of emotions going on at the time I made the track. I had just come out of Deep Dish, so I was very unsure about my ability as a single artist, but I was really passionate about the music I was feeling at that time, which wasn’t what Sharam was doing. I knew instinctively the direction I wanted to go in, even if I didn’t know if I would be successful within that genre. Sharam and I were basically bringing house and techno together in a new way, so I represented techno, Sharam represented house. I was going back and reconnecting with those roots, and going out to see some of the DJs in techno. That gave me the motivation. We didn’t really swim in those circles as Deep Dish, because we really became like a commercial phenomenon. We started play-ing different events, which is why I went back to the events I had always wanted to play and scenes I wanted be part of. I had ideas that could push the genre in a new direction. So then it became a matter of getting together with my amazing engineer, Matt Nordstrom, and figuring out a way to do that: To translate the ideas that I had whenever I came home from one of those trips and to do something audible and Ribcage was a result of that. Do you ever hear sounds out in the open in the real world and try to replicate them digitally? Sure, all the time. One example is I’m well known for the white noise explosions or crashes in my music. That all came about when this club or festival had these C02 cannons, and whenever that would go off, I would notice that it would create this new energy. I wanted to capture that moment and feeling within the music. So that’s what I worked on in the studio and it became synonymous with my sound. I’m constantly hearing sounds, whether I’m on a train, or construction site, or a sound in nature that can give me a spark of an idea that I can do in the studio. A lot of what we do as DJs and producers is we want to connect emotionally to people and trigger memories. And while I’m trig-gering memories and emotions in others, it’s happening to me right there in the DJ booth as well. 40 It’s interesting that your documentary puts an emphasis on food, because electronica icon, Jean-Michel Jarre once compared creating electronica music to cooking and com-bining ingredients. Oh yeah, I’ve been using that analogy for years as well. It’s very, very accurate. I feel a lot of similarities and forged relationships with a lot of chefs because of our shared passion for what we both do. If you just look at a DJ set, then look at what chefs do as a metaphor for that, our tracks, their ingredients, and how they put their ingredients together and how we program our music ultimately has a direct effect on what we sound like, and what they end up putting on a plate. Putting together those ingredi-ents in a very specific way, it’s what they do to those ingredients that reflects the unique sense of their craft. With music per-formance and DJing, it’s how we take those elements and how we frame it that tells our individual, unique story. So there’s endless similarities. Would you eventually want to use your platform for a specific cause? Yeah, I actually have a very soft spot for the deaf and deaf schools. I’ve had extensive conversations with companies like SubPac with the wearable subwoofer, which pushes the bass frequencies through your body. [When] you have it connected to an audio source, you feel the music. You could be sitting at home, but you’ll feel music like you’re in the middle of a massive festival or club with a huge sound system. So often times I’ll see deaf kids or adults at my gigs and they’ve got their head in the speaker and they’re trying to really feel the music. I don’t know what I’d do without my hearing. Hearing is a big component for what we all do as musicians. My heart kind of sinks whenever I see someone who’s deaf, so I would want to do something for deaf people and I’m kind of known for my bass, so it could be a good union. What’s on the bucket list for Dubfire? With this [latest] compilation, it’s kind of capping the first ten years of my solo career, and in many ways, I’m trying to push myself and, of course my engineer in the studio, to come up with new tricks: To not rely on the same process that we’ve always had with the music making. Sometimes you can get comfort-able if you become well known for a certain sound. You tend to repeat yourself, whether if that’s what you’re trying to do or not, it ends up creeping into the creative process. So sometimes we may work on something and I’ll do it one way, and once we have that version, we’ll take a completely different approach. So I’m really trying to take myself out of my comfort zone.