Introducing: |-...-|

Meet the mind behind a bold new project that’s rewriting the rules of the music industry. Rejecting ego, identity, and the spotlight, this artist is letting the music speak for itself—stripped of labels, names, and preconceived notions. Inspired by time spent with SOPHIE in Manchester’s early days and a deep respect for her boundary-pushing creativity, this anonymous venture pays tribute to a philosophy where identity takes a back seat to pure sonic expression.

With plans for a masked, shadowy debut at The Horse and Groom in London and a show on Netil Radio, this project is set to spark conversations about dance music culture and challenge big-name DJ norms. Think visual mapping, enigmatic performances, and an ethos that makes the audience truly listen. It’s more than a concept—it’s a rebellion against the system, a tribute to the underground, and a fresh take on how we connect with music.

Q: What inspired you to create an anonymous project, and how does rejecting identity and ego influence your approach to music?

A: I always thought the best artists said no to the system. Let's go back to Led Zeppelin. Refusing to play the chart game by never releasing a singke. My Dad's favourite band and something he would would always remind me of. Then I saw artists I loved who kept their identity secret. Aphex Twin, Luke Vibert, Daft Punk, Burial, Weatherall with his numerous pseudonyms who was my main inspiration and closest to me SOPHIE. 

As I knew SOPHIE pre transition I thought it was an anonymous game. Which I loved and respected. But even more after coming out 10 years after I knew them. It became clear. But still gave me even more respect and also a feeling of confusion. Were they afraid to come out, as @smsmsm was their email in 2005. But I never knew that. But maybe that was an early sign. Even her best friends aren't sure if the Bipp slide is another trans hint being the trans flag colours, as she claimed it to be more about child play using the slides referencing playgrounds. Sadly we will never know for sure. 

I have been making music for only 3 years. But have been a DJ for 25. Many people say my party was the best in the UK at the time (2005-2010) plus I was a Bugged Out, Sankeys and WHP resident and hosted the Terrace at Space several times. So I've played the game. But it didn't fully satisfy me. 

I always played tracks which were unknown to most DJs in the scene. Even I wouldn't know the artists name sometimes as they were often obscure, hard to pronounce and from other countries. So I always picked using my ear rather than going for big releases. 

So I've never been one to have a catalogue brain for artists. I try and find what's not on Beatport or the general publicly known big hitter. Even to this day I tell people to try Boomkat. Which they still haven't heard of but when they look they find treasure. Which most people couldn't be bothered to sift through. You can't just rely on the top 10 of your favourite DJ etc. I guess this gave me the confidence in my ear for a good track. Which I am now trying to use when producing music. Having that confidence to create something unique which breaks the rules is truly gratifying. 

Q: You mentioned spending time with SOPHIE during an earlier period of their life—how did those interactions shape your perspective on creativity and identity in the music h to music world?

A: When I was putting on parties in Manchester she was also part of a collective putting on parties around the same time. We put on events with that collective so had numerous interactions and after parties together. She told me I should be a life coach and always respected my unique take on DJing. She then moved to Berlin and was always trying to get me and my friends gigs there.  Showing she respected our forward thinking approach. As we were balancing lineups in 2007. Before it was even a thing. Whilst I was getting told I was an idiot for mixing dubstep and techno. 

I lost touch after they started the SOPHIE project. Naively thinking it was more of an anonymity thing (maybe now the inspiration is clearer). At the time I didn't give much time to her music. I thought it was unique. But didn't hold much place for a dancefloor at the time. As I was playing 100 bpm chuggers up to 120 bpm max. Whilst she and A.G Cooke were inventing hyper pop. But when they passed I was deeply saddened. Especially knowing some of her closest friends and how it affected them. 

My friend James Cooper who she came out to in 2017 in LA and was her intimate advisor should be named here. As he was changing the scene to what it is now in 2012.  An unsung hero of club culture in London who was not only the first to convince Bugged Out! too book her.  But also was the first person to put on Peggy Gou. During my production research I was led to SOPHIES full back catalogue out of intrigue to explore her unique sound design. Fascinated by her journey after I knew her. 

I thought her view on disassociation of identity with music was a true statement. I loved the way she spanned so many genres. I feel a common link there. I have a diverse taste too. The |-...-.| tracks are just my past months work. I have a body of at least 80 tracks which are under another name. Some of which are getting love from Heidi Lawden, Lovefingers, Prosumer, Justin Robertson and Gina Breeze. Spanning techno, deep house, trap, pop and ambient and experimental work. But that's a different identity so I can't share here. 

But I see this new anonymous outlet as a place for a certain sound. Mostly with an acid  line featured somewhere. Being one of my favourite sounds. But still taking influence from other heroes such as Theo Parrish, Weatherall, Larry Heard, Fourtet, James Holden and Nathan Fake.

Q: How do you envision the audience connecting with your music when identity and persona are removed from the equation?

A: I think it's fairly simple. If they like the music they will connect. If they want a character they can relate too. Whether that be a producer they know who can't even DJ or a big name they have found via an algorithm. Then that's their issue and the problem with current club culture. People should think for themselves. Not just buy what they see via a cookie or social media based ad or what a record shop sales person is pushing to meet targets. 

I feel at the monent the industry is confused about what to like and why. So I'm simply trying to make a statement that all that matters is the music. Someone said how will people Google your name. My answer. Is that if they can't find the keys to type it into Google on a keyboard (shift+\, -, ..., -, . shift+/). Then I already know they won't get it. Though I've tried to help them out by naming the tracks with colours. 

Q: Can you tell us more about the concept for your live performances, such as the all-black masked look and visual mapping? How do you see this impacting the audience's experience?

A: Being just 3/4 weeks into this project this is early days. But I personally love the way the Confidence Man DJs are anonymous in their black bee keeper suits. Whilst the main preformes indulge their egos. I don't have a problem with that. I just think the DJs are way cooler. 

I also genuinely want an anonymous persona. If I saw a DJ looking mysterious and anonymous then that would catch my attention. So I guess my hope is others will feel the same. I'm aiming big I know. But you have to go all in when you have a true passion.  

Q: You brought up the idea of a record shop selling only white labels—how does this philosophy tie into your views on the dance music industry and the culture surrounding big-name DJs?

A: This came about in 2005. I had the limited edition early 500 press "Theo Parrish - Falling Up (Carl Craig Renix) 10" and walked into Eastern Block and they were playing it. Months after I had been playing it out and actually was bored of it. 

I said "How do you have this. It was limited to 500 and only available via warp records online store".

They said "Yeah it's banging. New re-release . The latest Carl Craig banger." So I feel he kinda sold out (though I guess people need money) and got thousands of represses made. Which record shops then pushed on his name alone. Whereas when I bought it I didn't even know who Carl Craig or Theo Parrish were.Then people bought every Carl Craig re-release or remix that came out. Good or not. Proving to me that they were chasing the name. Not the music. 

Same with Villalobos. I have a 2004 record "Monobox - Trade (Villalobos Remix)" which is pre "Midnight Request Line." But it starts with a half speed dubstep style beat and evolves into techno. So who really invented dubstep or the "Hessle Audio" sound?

Now "DJ Memes" rip him all you want. But that's proof to me Villalobos was ahead of the curve. When I bought the record I didn't even know much about him. Plus in all honesty the only reason I bought "Midnight Request Line" in 2005 was to mix with techno as I heard Villalobos was doing it.  These are examples of how I chose forward thinking records with no real knowledge. But then bought "Midnight Request Line" not because it was the first big dubstep record. But because Villalobos played it. So I've been tricked by the system myself. So admitting I fall for the trap. But also found the sound before the trap was set! Therefore. I know as a true DJ you should be able to find the best tracks regardless of knowledge.  But have also fallen into the trap of buying into a name myself.

That's why I never record shopped in Manchester and only ever bought from  Boomkat. Scrolling for obscure artists which had a sound I knew people would like. But would never have heard of.  Another good example is the Weatherall remix of "Fuck Buttons." He was my greatest influence and inspiration. I love him forever. He played at my parties for £800 vinyl only for 5 hours to 150 people. For the love of the vibe. But I still think that remix is too long, boring and repetitive. Yet I still felt pressured to play it for the crowd in my sets. Cringing at its length. Even worse seeing him play it once at the end of an ALFOS set. Eyes rolling as he probably thought the same. 

So I guess there will always be a need for the standard record shop. But you have to admit. My concept of every record being unknown is pretty darn cool. I hope these statements all make sense. I'm trying to be both humble but also show awareness. I'm no master. I just enjoy making music which is forward thinking, sounds good and resonates with people in some way.