303GREG

From the concert halls of classical percussion to the pulsing heart of Funky House and Melodic House, my musical journey has been anything but linear. I’ve toured the world with Rockabilly bands, laid down grooves in sweaty nightclub sets, and composed tracks that fuse orchestral finesse with electronic swagger. My latest track, "Flirting with Fire" is one of those tracks—a Funky House number that doesn’t just play, it teases.
My music is born from a simple idea: what if rhythm could flirt? What if each beat was a glance, each chord a touch, each drop a breath held just a moment too long? With a tempo that struts rather than sprints, it invites the listener into a slow-burning dance. It’s not about urgency—it’s about anticipation.
As a classically trained percussionist, I’ve always been obsessed with timing. In most tracks, I use that obsession to create tension. Notes don’t resolve immediately. They hover, shimmer, and suggest. The rhythm section—tight hi-hats, syncopated claps, and a bassline that slinks rather than stomps—creates a groove that feels like a whispered dare.
My transition from classical to electronic wasn’t a rejection—it was an expansion. I still hear the orchestra in my head when I build a track. The drama, the dynamics, the storytelling. In most of my music, you’ll hear echoes of that: melodic motifs that evolve like themes in a symphony, layered textures that build like a crescendo, and drops that feel like a conductor’s cue.
But there’s also the club—the sweat, the lights, the bodies moving in sync. That’s where Funky House lives. And that’s where most of my tracks finds their heartbeat.
What makes my music unique is the blend. It’s modern, it’s funky, and it’s unapologetically playful. It doesn’t just ask you to dance—it seduces you into it. It’s the kind of track that makes you close your eyes and move, not because you’re told to, but because you want to.