Though most of his audience came to hear seemingly evergreen underground hits "Flash" and "Answering Machine," Green Velvet made sure his performance at Manhattan mega-club Twilo included another quirky, but yet-unheard, nugget. By unleashing his new rock-cyberpunk "G.A.T. (Great American Tragedy)," the Chicago-based producer threw a well-timed changeup at the Wednesday night gathering, which waited for his murky, sing-along hooks "I … don’t … need … this … shit!" (from 1997’s "Answering Machine") and "Cameras ready, prepare to flash!" (from 1995’s "Flash"). But that’s nothing new from the man known to the taxman as Curtis A. Jones – he’s been following his off-center artistic whims his whole career.

Initially known as Cajmere for his tracks on his own Cajual and Relief imprints, Jones developed his Green Velvet persona, which adds a detached vocal element that delivers blithe punchlines over intricate and deep productions. His eponymous F-111 debut album includes "Flash" and "Answering Machine" – both darkly humorous tech-house classics – plus squiggly, minimal stomper "Land of the Lost," another underground DJ fave. And now that new mixes are available on "Flash" – check out Danny Tenaglia’s crunching "Nitrous Oxide Mix" and Timo Maas’ grooving "Dirty Dub" – more DJs will soon be discovering the enigmatic Green Velvet. DJ Times recently caught up with Mr.Velvet in Manhattan’s chi-chi Time Hotel for some explanation. Cameras ready?

DJ Times: What’s the difference between Cajmere and Green Velvet?

Green Velvet: For me, the Green Velvet projects have to be weird and tripped-out. And when I add vocals to a total psycho beat or the synth sounds or whatever, it just takes it to another level. So for me, having the vocals in there just makes it even more warped. And that’s why I have the vocals in my tracks. "Flash" could have been just an instrumental beat thing. But via the vocal being there, it enhances the madness that’s already there. And that’s what I like doing.

DJ Times: How did you get started with your home studio?

Green Velvet: I don’t remember exactly, but I had really, really cheap stuff. I mean, dirt-cheap stuff, like Radio Shack cheap mics and keyboards. I still use a keyboard which is a really inexpensive keyboard, but it just has the dopest sounds on it. It’s like a $70 keyboard. It’s like a child’s keyboard. It’s a Yamaha, just the one where it plays all the beats and everything. But this is a really unique one and they discontinued it and stuff, but it’s one of my favorite pieces. But now in my studio, I have a lot more effects, like really good effects, which are expensive. Some of my sound modules are expensive. I have an [Akai] MPC-3000, and those aren’t cheap anymore!

DJ Times: How do you work?

Green Velvet: I’m more of a vibe person, and I have to keep my vibe going, and I can’t be thinking in front of a computer screen and doing my beats. I don’t work that way. I have to be more hands-on and not worry so much about the technical stuff when I’m doing it.

DJ Times: Why do you think DJs still have "Flash" in their record boxes?

Green Velvet: I’m amazed that it’s still being played to this day, and the reaction it still generates. When I did it initially, I didn’t think anybody would play it. I loved the track, but I couldn’t see it played actually, because it has the kick and stuff, but the beats aren’t that typical, with the kick-hat and the clap, and the snare – boom-dsh-boom-dsh – it’s not that straightforward, and it’s not so structured. So I was like, "Who’s going to play it?" A lot of techno stuff still to this day is more instrumental music. So I really didn’t foresee techno DJs coming in and also couldn’t even imagine house DJs playing because I thought it was just too hard and tripped-out for them. But it was like they both ended up playing it. So I was totally surprised by it. I feel it’s good that it’s still stood the test of time, that DJs still play it and people are still losing their heads to it.

– Justin Hampton