He moved to Tokyo in his late teens. Digging for records was, by his own account, a daily routine before he made any of his own — the influences carried across from South African gqom to Jamaican dub to industrial new wave were assembled first behind decks, and only later became source material for original tracks. That routine has extended into an international radio network: a residency on Bristol's Noods Radio, and guest mixes for stations including Rinse France in Paris, Mutant Radio in Berlin, Radio Raheem in Milan, Visla FM in Seoul and Internet Public Radio in Guadalajara, and into a run of settings that resist a single format: an Open to Last set at Contact Tokyo, festival appearances including Rural, DIY raves such as SLICK, and club dates spanning Bristol, Berlin and Warsaw through to Taipei, Seoul and Shanghai — a scattered set of connections that, taken together, wire each city's underground into the same loose circuit. Across them, the sets themselves range widely — from dancefloor-conscious, physically driven selections to slower, meditative, deep-listening sessions — different registers of the same underlying aesthetic rather than separate modes. 

The sound draws on early industrial music, UK dubstep and Bristol bass culture, alongside techno, ambient and cinema's sense of atmosphere. A DJ set is built as an unstable arrangement — tension held and released, genre treated as permeable rather than fixed, a single set moving between industrial, dub, techno and dynamics of pleasures.

Temple Ov Subsonic Youth extends this into a live, hardware-based mode: drum machines, samplers and analog synthesis used to assemble structures and then destabilise them in real time. Low-frequency pressure, analog instability and the absorbed noise of the city combine into an acoustic space capable of altering the room around it — sound treated less as musical material than as a transformative physical force, recalling forms of collective experience. Its recordings are logged by coordinate rather than title, documenting each performance as a transmission from a specific place and frequency rather than a fixed studio artefact. Rather than a separate alias, Temple Ov Subsonic Youth functions as a live laboratory within the wider practice, where ideas first emerge through physical experimentation before circulating into other forms.

Nocturnal Technology, founded in 2024, expands the practice into an independent publishing platform. Its name refers to the idea that the technologies of club culture come fully alive during the nighttime, when equipment designed for clubs begins to operate within its intended environment. The bat, adopted as the label's symbol, embodies this principle through its ability to navigate space by sound rather than sight in the darkness. Inspired by the exploratory spirit of 1980s industrial and new wave culture, Nocturnal Technology releases Mars89's own productions alongside works by other artists and collaborative projects, connecting them through a shared interest in nocturnal sound, atmosphere and technological imagination rather than stylistic boundaries.

The work continues to open onto adjacent fields as it goes. Commissions for UNDERCOVER and Jun Takahashi, releases connected through exchanges with artists including Thom Yorke, Zomby and Low Jack, and collaborations spanning moving image, VR and activist projects such as Protest Rave all sit within the same evolving catalogue rather than occupying separate branches of a career. None of it closes the practice into a fixed shape; each new release, broadcast or performance functions as a further node, extending a network still being built. Rather than documenting a completed body of work, the archive remains an active record of an evolving practice, where production, collaboration and research continuously reshape one another.