About

Migrating from my hometown of Athens, Greece to the United Kingdom in the late 1990s, I was lucky enough to catch the rave movement’s swan song. For the best part of the following decade, I played jungle and techno at clubs, squats and festivals across the North West, and travelled with sound systems as far as Eastern Europe. Following a diagnosis of chronic tinnitus, and the good fortune of studying composition and music technology with Stephen Davismoon, Joe Duddell, Nicola Spellman, Craig Vear and Alan Williams, I migrated again around 2010, this time towards sonic arts. This shift did not mark an abandonment of electronic dance music, but a necessary change in proximity. It allowed me to approach sound systems, dancefloors and performance from a different angle, through listening, research, collaboration and experimental practice. More recently, and with a suitably negotiated relationship to ageing ears, I have returned to DJing with renewed curiosity, treating the booth as a space for memory, technique, embodied knowledge and musical risk.

Over the following years, I engaged with numerous milieus connected to music, performance and research. Personal highlights and milestones include presenting and performing work at New Interfaces for Musical Expression, ICMC/SMC, Supersonic Festival, FOCUS Wales Festival, the New York City Electroacoustic Music Festival, Surge Glasgow, Electric Nights Athens, the Beijing New Dance Festival, Shanghai’s West Bund Centre, Manchester Science Festival and the Ionian Academy’s Audiovisual Arts Festival. I had the pleasure of collaborating with Nicola Ellis during her Return to Ritherdon placement, performing with the BBC Philharmonic Orchestra and Echo Echo Dance Company, and composing live scores for Jim Cartwright’s Burning Bright and Teresia Björk’s Vi-We-Nous. More recent works include three miniature pieces for Silvia Batista’s Into the Wyld, the original composition Transient Shapes I for Tywi Roberts’ UnHeard Ensemble, and the soundscape composition Parahronos, published on Radia for Diffusion FM.

I have received commissions and funding from Arts Council England, the British Science Association, Sound & Music and IdeasTap, and have held residencies with the NOVARS Research Centre, Manchester International Festival, the Great Exhibition of the North and Medea Electronique. As the principal curator and producer of the Metanast collective, I organised a series of concerts that aimed to showcase artistic practices traditionally associated with academia within the context of nightlife and club culture. The series hosted over 100 artists from more than 30 countries. More recently, I organised Revolving Grooves, a symposium exploring vinyl culture, collecting, DJ practice and the social life of records.

Broadcast practice has also become an important part of my recent work. I have developed regular shows for Svara Radio, including A New Hope, a student-led programme featuring DJs from Liverpool Hope University’s student body, and my ongoing residency ECHOS // HXŌ, which explores the histories, aesthetics and performance cultures of drum and bass, techno and related electronic music forms. I also make regular appearances and collaborations with North Wales’ Equity Hi-Fi sound system.

I have written journal articles and contributed book chapters published by Taylor and Francis, Springer, Routledge and Cambridge University Press, alongside work appearing in the Journal of Pervasive Media, the International Journal of Performance Arts and Digital Media and Dancecult: Journal of Electronic Music Dance Culture. I have delivered guest lectures and workshops at the Estonian Academy of Music and Theatre, the Chinese Academy of Arts, Leeds Beckett University, Liverpool Hope University, CAST in Doncaster, Wrexham Glyndŵr University and Sample Music Festival Berlin.

In 2019, I completed a practice research PhD examining polydisciplinary collaboration in performance practice, under the supervision of Joanne Scott, Stephen Davismoon and Stephen Kilpatrick. My doctoral research was supported by the Pathway to Excellence Scholarship from the University of Salford, where, from 2015 to 2019, I also taught undergraduate and postgraduate modules in music technology and performance, theatre practice and multimedia performance. In September 2020, I was appointed Lecturer in Music Production in the School of Creative and Performing Arts at Liverpool Hope University, where I now teach across music production, electronic music, performance, creative technology and practice research. I also lead the BA Digital Creativity programme and the MA DJ Performance and Broadcast Techniques, reflecting my wider interest in the intersections between music, technology, performance, broadcasting and electronic dance music cultures.

I currently supervise PhD projects on artificial intelligence in music, wartime protest songs in North Africa and beyond, and the commercial lifecycle of electronic music. I warmly invite prospective PhD candidates to get in touch to discuss research projects across music, technology, performance, electronic music cultures and practice research.