nutritious


art with Van Hamersveld, worlds built in real time, and I’m a produ- cer at heart. The sound I’m making today doesn’t exist without any one of these worlds. Every place I’ve travelled, every practice I’ve committed to, is the foundation and inspiration.”


That wide spectrum of influen- ces becomes especially clear in his performances, unlike many contemporary DJ sets that rely heavily on digital sequencing, Nutritious approaches the booth as a live instrument environment. Multiple turntables, outboard effects, and long-form set structures allow the music to evolve organically in response to the space itself. Each performan- ce becomes an ongoing dialogue between sound, architecture, and audience energy.


“Soundsystem, lights, acoustics, I’m reading the physical space, then, the vibe. I often play extended sets, and the room changes over five or six hours, so I’m performing what’s true to me and I’m responding in real time. It can be similar to scoring movies.”


Within that approach, records are rarely treated as fixed objects. Instead, they material for


become raw transformation,


reshaped through loops, effects, and subtle tonal shifts that alter the original structure of the track. The DJ booth becomes a pla- ce of composition rather than playback, where the narrative of the night emerges moment by moment.


“Turntables and effects make amazing instruments. I like to let records play and, at key moments, enjoy painting fresh scenes. The night is the cinema. When I bend a tone or loop a phrase, run a classic through effects until


it


becomes something the producer never imagined, that’s the score being written in real time. You can reshape a sound into something that didn’t exist in the source material and change someone’s perspective, like many DJs have mine.”


This sensitivity to environment explains why


Nutritious has


moved fluidly between vastly different performance contexts. Clubs, museums, warehouses, and fashion spaces may appear disconnected, yet for him they all revolve around the same principle: sound emerges from the space rather than being imposed upon it. Performance begins with listening rather than projecting.


“At every venue, the space is the sound.


Great performance is


listening: you must absorb the sonic world around you. Opening yourself to the full frequencies and vibrations of the environment allows you to dance with it. That’s the basis of channeling. Whether


club, museum, or warehouse, festival, when the


space locks in, everything else disappears.”


His performances typically unfold in two distinct forms, Uptempo and Downtempo, yet the under- lying approach remains consis- tent. The former channels a ki- netic spectrum of energy, while the latter explores deeper pockets of sound. Extended sets allow the music to travel freely across stylistic boundaries.


“I perform uptempo shows spanning deep house, techno, indie dance, and downtempo shows that move through edits, nu-disco, balearic, funk, and soul. I honed the downtempo through hip hop and jungle early on, and then by playing with [Mark] Farina for Mushroom Jazz and regularly performing at Thievery Corpora- tion’s Eighteenth Street Lounge. Same sensibilities on both, just different tempos.”


That long-form storytelling is essential to his philosophy of DJing. Rather


than treating


genres as separate categories, he prefers to weave them into an evolving continuum where tempo and mood shift gradually over hours. The goal is not to reach a single climax but to guide listeners through a wider emotional arc.


“Having learned by way of


playing weekend-long parties, my favorite is extended sets, where I can meld tempos and styles into


an evolving journey. I can take a room from Balearic through deep house into full-on techno and back down into soul, and keep it cohesive. That’s how I see music. It’s like experiencing the Grateful Dead: it’s the tailgate to the show, to the stumble out and after party. There’s no wall between a Curtis Mayfield record and a deep house track when there’s enough time to explore the full spectrum.”


Community has always played a central role in that journey, from bands and stages through New York’s underground to Brooklyn’s cultural expansion in the early 2000s, where Nutritious helped cultivate weekly


events that


blurred the line between DJ sets and live musical collaboration. These spaces became laborato- ries where DJs, musicians, and dancers could interact more freely.


“I also produced one of the first weekly house nights at Bem- be during Williamsburg’s second wave, playing over a hundred shows as a resident and featuring amazing artists, DJs, and musi- cians, we’d jam live. It confirmed the spiritual roots of dance music: rooms are more than just venues, they’re a living thing where we get to appreciate how we are all one. That’s the message of house mu- sic. And love.”


The releases themselves reflect a similarly immersive worldview. Each project arrives with visual language and conceptual imagery that situates the music inside a broader


narrative environment.


Rather than existing as isolated singles, the tracks become coor- dinates within an ongoing artistic universe.


“My job, as an artist, producer, and DJ, is to take people somewhe- re. On stage, that’s the set. In the studio, that’s the song. But the journey doesn’t start when you press play. It starts when you en- counter the work. The sounds, the story, the visuals: they’re all com- ponents of the entire artwork. Each release is a waypoint in a universe of exploration. They exist to support journeys.”


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