According to Robotti’s biography on Resident Advisor:
“Although Sacha’s sound has evolved throughout the years, you can recognize his signature in everything he creates. Meandering between the dirty bassheavy ‘booty’ plains of electronic dance music and its futuristic shores, his music is funky, creative, has character, uses a palette of rich sounds, and tells a story with layers of depth and emotion. It also has a sonic quality that makes it stand out. Keep your eyes and ears peeled for this gentleman with a weird little thing for sweaty dance workouts and happy bass-massaged faces…”
I got the chance to interview Sacha, and I can say without a doubt he is one of the nicest DJs I have ever met. He has a genuineness in his answers and a love for his fans, music, and the quality of the sound system that only a Dirtybird artist could have. It makes sense that he chose that label to start playing under his own name. We talked about house parties, festivals, and what unusual creature he feels is his spirit animal.
I was trying to remember the first time I saw you play, and I think it was at a warehouse party in DTLA. It’s cool that you play small underground events as well as the major festivals. Do you have a preference between the two?
Was it in the beginning of December? That was the first party that I played in LA. It was called Altered States, and it was a Burning Man fundraiser, I believe.
Right now, I love the big ones or the small ones. I like really good sound systems. You can make me very happy with a good sound system. It can be a very big club or it can be a small club. As long as it has a good sound system and my music works, then that’s cool.
You have the Dirtybird Campout coming up. I interviewed Claude Von Stroke, and he was saying he liked it because the DJs get to mix with the crowd. What are your feelings on that?
It’s just a big party. Everyone gets drunk together, and I love that Dirtybird parties are very inclusive as opposed to other events, which may not be as inclusive. DJs are on pedestals and feel cooler than the fans. What I like about all the Dirtybird artists is the vibe. They are approachable. Anybody can come up and talk to me, and I think it’s the same with all the other guys like Barclay or Justin Martin, where he’s making pizza with fans.
Are you running any activities?
I don’t know yet. Maybe. Hopefully.
Were you at the Campout last year?
Yeah, it was the first time I played a solo gig under my own name. I played my set and then just stayed on the stage and listened the whole day to the other artists.
We’ll have to play some dodgeball. Challenge Ardalan.
Dodgeball, yeah. Ardalan is such a fun guy. We gambled together in Reno, and won $1,200 and we paid our car with it. It was dope, so I’m sure were gonna do something.
Do you have any new music coming out?
There’s something coming out on Insomniac Records called “Plant the Seed,” and then I kind of signed something with Bristol for a track that I did called “Elephant Man.” It’s a very bassy, break-beaty track. I don’t know when that’s coming out. Right now I’m signing a few things. Maybe something on Dirtybird, but nothing is signed yet.
You are also working with Justin Jay. He’s doing this whole house party scene with Justin Jay and Friends. Have you gone to those?
Yeah, I played one, and it was really, really crowded! I played my set, and the minute after I played my set, it got shut down by the cops because people were climbing the fence of the property. It was very fun. It was a big house. A fraternity house, I think.
Would you ever think of throwing your own?
I did that at the end of January. It was really good. We expected 150 people, and 500 came. It was called Comfort Zone. The logo is the sloth head because I like sloths. It’s my spirit animal because it’s so chill and is moving slow as opposed to the fast-paced life. It’s just smiling. So I like sloths. They are just cool. I want to throw another one. We are still finding a date. I have a warehouse space, and we are just finding out if we can throw it there. It’s cool.
I’m from Berlin, and what I don’t like about playing in America sometimes is that everything shuts down at 2 o’clock. If there are five DJs on a lineup, each person only gets to play an hour, so I’m throwing a party so I can play 4 or 5 hours just by myself. It’s basically a really egotistical thing to do, but I’d get to play a longer set and actually tell a story and not just play bangers, which is great.
I’m not complaining, but I grew up with a different kind of spinning with longer mixes. Sometimes it takes me half an hour to an hour to warm up, so when I’m playing a festival, I’ve warmed up for half an hour or forty-five minutes, and then I have fifteen minutes left of my set. I’m in a groove and I’m like, “Okay, I have to stop now.” So it’s sad.
Would you ever play an open-to-close set at Exchange?
Sure. Book me, guys! I’m down.
Is there a difference between crowds in the US and the crowds abroad?
I feel crowds here are more appreciative in a way. They give you more direct feedback as opposed to maybe in Berlin. But that might just be my personal experience. I like when people dance and get down and have fun as opposed to just being cool.
Do you have any particular plans for your set tonight?
No plans. Just have fun. At Burning Man I played some really dark and fast techno. Maybe here I will play something else. I don’t know. It depends on my mood, and it depends on who is there. I can’t give you a definite answer.
Here in California, I play more bass. I just feed off the crowd’s energy and my own energy. Then both energies “make love” and something comes out and that’s the set. Sometimes it’s an ugly child and sometimes it’s a beautiful child and everybody’s happy.
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