With the sensibility in mind that the most prominent art movement of today is collage, intentional or not, I have taken my name from the rants of Francis E. Deq, and lovingly reappropriated its meaning.

There have been a handful of Gangster Computer God performances at parties or on the campus of Reed College. This music has also been featured on 97.9 KRRC Portland. Every show is a special moment, and each one is unique.

If you are reading this or listening to my music right now, it is undoubtable that the internet has changed the way we gain access to and experience music.

I'm not currently seeking a contract, but should the opportunity avail itself, I would like full creative freedom. I don't know if they still do that, though.

I am a multi-instrumentalist with a focus on drums, piano, digital synthesis, electric guitar, and electronic musical production. My musical ventures have always sought exploration first and foremost. Gangster Computer God is merely the latest refiguring of this explorative spirit, recognizing that electronics theoretically allow for the production of any and all possible sounds and the manifestation of whatever musical ideas one can conceive.

I would like to believe that often this music sounds like no one else in particular, however I am not interested in the pure isolation such an ideal demands. In fact, I have many influences, which include computers, Claude Debussy, Jimi Hendrix, Aphex Twin, gamelan, the Grateful Dead, trance music, modems, John Cage, Muslimgauze, Kevin Fiske, J.S. Bach, Squarepusher, Acinonyx, echoes, Future Sound of London, Venetian Snares, classical Indian ragas, Susato, Josquin, Umphrey's McGee, Particle, Darvishkhan, Turkish Audio Society, Ifsh, Boards of Canada, u-ziq, and others.

Whatever I can get my hands on, but primarily I use a Korg Triton synthesizer and laptop-based audio-editing software.