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I started writing music in the early naughties, trading an office job for a bedroom studio dream. I was an ice skater turned DJ, bought a copy of Cubase on a Microsoft PC from my receptionist job at a dot-com, and soon found my own alchemy. I hung out in Brighton with Breakbeat DJs and began shaping a pop-oriented sound I imagined could write for pop groups and girl bands, even though I didn't see myself as the singer—yet I used my voice as an instrument for future stars. I learned on the job, never formally trained and never read music, but I kept writing songs and felt the axles of composition click into place. In early 2017 I penned my first Automaton album At The Edge, a collection where every track stood apart yet formed a coherent whole. The second album came more easily, inspired by love and synthy dance-pop. The Calling followed around 2018-2019, leading to BBC Introducing in the South. I later synched The Ashes/Pheonix, and released Papillon and Groover. In 2023 I toured Brighton and London without the decks, and today I’m on the road reviving an old-school dance-hall vibe—come see us near you.…I started writing music in the early naughties, trading an office job for a bedroom studio dream. I was an ice skater turned DJ, bought a copy of Cubase on a Microsoft PC from my receptionist job at a dot-com, and soon found my own alchemy. I hung out in Brighton with Breakbeat DJs and began shaping a pop-oriented sound I imagined could write for pop groups and girl bands, even though I didn't see myself as the singer—yet I used my voice as an instrument for future stars. I learned on the job, never formally trained and never read music, but I kept writing songs and felt the axles of composition click into place. In early 2017 I penned my first Automaton album At The Edge, a collection where every track stood apart yet formed a coherent whole. The second album came more easily, inspired by love and synthy dance-pop. The Calling followed around 2018-2019, leading to BBC Introducing in the South. I later synched The Ashes/Pheonix, and released Papillon and Groover. In 2023 I toured Brighton and London without the decks, and today I’m on the road reviving an old-school dance-hall vibe—come see us near you.

Nadine Distefano

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I started writing music in the early naughties, trading an office job for a bedroom studio dream. I was an ice skater turned DJ, bought a copy of Cubase on a Microsoft PC from my receptionist job at a dot-com, and soon found my own alchemy. I hung out in Brighton with Breakbeat DJs and began shaping a pop-oriented sound I imagined could write for pop groups and girl bands, even though I didn't see myself as the singer—yet I used my voice as an instrument for future stars. I learned on the job, never formally trained and never read music, but I kept writing songs and felt the axles of composition click into place. In early 2017 I penned my first Automaton album At The Edge, a collection where every track stood apart yet formed a coherent whole. The second album came more easily, inspired by love and synthy dance-pop. The Calling followed around 2018-2019, leading to BBC Introducing in the South. I later synched The Ashes/Pheonix, and released Papillon and Groover. In 2023 I toured Brighton and London without the decks, and today I’m on the road reviving an old-school dance-hall vibe—come see us near you.…I started writing music in the early naughties, trading an office job for a bedroom studio dream. I was an ice skater turned DJ, bought a copy of Cubase on a Microsoft PC from my receptionist job at a dot-com, and soon found my own alchemy. I hung out in Brighton with Breakbeat DJs and began shaping a pop-oriented sound I imagined could write for pop groups and girl bands, even though I didn't see myself as the singer—yet I used my voice as an instrument for future stars. I learned on the job, never formally trained and never read music, but I kept writing songs and felt the axles of composition click into place. In early 2017 I penned my first Automaton album At The Edge, a collection where every track stood apart yet formed a coherent whole. The second album came more easily, inspired by love and synthy dance-pop. The Calling followed around 2018-2019, leading to BBC Introducing in the South. I later synched The Ashes/Pheonix, and released Papillon and Groover. In 2023 I toured Brighton and London without the decks, and today I’m on the road reviving an old-school dance-hall vibe—come see us near you.

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I started writing music in the early naughties, trading an office job for a bedroom studio dream. I was an ice skater turned DJ, bought a copy of Cubase on a Microsoft PC from my receptionist job at a dot-com, and soon found my own alchemy. I hung out in Brighton with Breakbeat DJs and began shaping a pop-oriented sound I imagined could write for pop groups and girl bands, even though I didn’t see myself as the singer—yet I used my voice as an instrument for future stars.

I learned on the job, never formally trained and never read music, but I kept writing songs and felt the axles of composition click into place. In early 2017 I penned my first Automaton album At The Edge, a collection where every track stood apart yet formed a coherent whole. The second album came more easily, inspired by love and synthy dance-pop. The Calling followed around 2018-2019, leading to BBC Introducing in the South. I later synched The Ashes/Pheonix, and released Papillon and Groover. In 2023 I toured Brighton and London without the decks, and today I’m on the road reviving an old-school dance-hall vibe—come see us near you.