A Life in Electronic Sound
I started out on guitar, but I was always drawn to electronic music. I began working with analog gear in 1996, around the time I was discovering club culture and raves. I was fascinated by how a small change in a sound could shift the mood of an entire room.
I made my first tracks in Impulse Tracker, then moved through Fruity Loops and Reason before taking up Ableton Live around 2009. I studied mixing with Dudi Tamir at Class A Studio and went on to play live and DJ in Israel, India, Berlin, and Los Angeles. Alongside making music, I’ve spent years listening closely to records from the 1960s to the present, following the sounds that catch my ear and trying to understand how they were made.
These days I’m drawn to ambient music. I like giving a sound enough time to change while you’re listening to it. That interest has also become part of a live audiovisual project with Barbara Kisil, a VJ whose work includes large techno productions. We began developing the project during the war, bringing my live electronic music together with her visuals.
The pieces on this page are a selection of tracks I’ve composed and recorded myself. They come from different periods, and you can hear how my way of working with sound has changed over time
Silent Loom is the closing track from a larger project I created. I’m currently developing a live performance that brings my ambient music together with live visual projections
Systetrons (2003)
I started Systetrons in 2003, when I was making tracks on a groovebox and teamed up with a rapper from the Israeli hip hop scene.
We played together on several stages in Israel and recorded a mini album that runs for 35 minutes.
The tracks move between techno, hip hop, and psychedelia.
I was interested in what happened when we put rap vocals over the patterns I was building on the groovebox and gave ourselves room to take the sound somewhere stranger.
I’m sharing the complete mini album here, from the first track to the last.
Roland Grooveboxes and Live Performance
I’ve spent more than twenty five years making music with Roland grooveboxes, and the MC 307 is still my favourite. I know it well enough to follow an idea while it’s happening. A pattern can begin as a simple rhythm, then take on a different character as I change the sound or pull parts of it away.
Over the past four years, I’ve also been playing the Roland MC 707. I’ve learned it in depth, down to the changes I can make by feel while a sequence is running. That familiarity gives me room to experiment live and to follow a sound further than I’d planned.
I still approach a performance with the instincts of a street artist. When I’m invited to play somewhere, I pay attention to the room and the people in it. Sometimes that means letting a quiet passage breathe. Sometimes a rhythm I’d planned to leave behind turns out to be the one worth staying with.
Freestyle DJing in Tel Aviv
Between 2005 and 2014, I was DJing and playing live electronic sets in clubs across Tel Aviv, from Florentin to the city centre. Radio EPGB was one of my regular spots, and I played there every week. That stretch in Tel Aviv was a formative part of the more than 25 years I’ve spent working with electronic music.
I approach DJing as a freestyle practice. I might move from breakbeat into techno, then bring in a rock and roll record or a piece of jazz. I listen for what two records have in common, whether it’s a drum pattern, a bass line, or even the way they build tension. Sometimes that connection only becomes clear when you hear the two records together.
Playing every week taught me to pay attention to how a room responds. I enjoy the moment when a crowd follows me into a record they might never have expected to hear in a club. A familiar track can feel entirely different because of what came before it. That’s one of the things I love about putting a set together.
