To say the past week has been hectic for Jason Bentley would be an understatement.

Forget that he is the music supervisor for the soundtrack to   "The Matrix," starring Keanu Reaves, the top box office draw in it's opening weekend (April 3-4).

Forget the fact that he has prominent shows on two different radio stations: "After Hours with Jason Bentley" on KROQ 106.7 FM (Midnights-3a.m. Saturday nights) and "Metropolis" on KCRW 89.9 FM (8 to 10pm weekdays).

And never mind that he has daily responsibilities as an artist and repertoire representative for Madonna’s Maverick Records.

He still has to fit in what he loves most and does best – being a club disc jockey.

Bentley maintains his weekly DJ residence at "The Pink," in Santa Monica, where he mixes his specialty, "distorted dance and remixed rock."

But there is more to the 28-year-old than just a hectic schedule and multiple paychecks. The boyishly handsome Santa Monica resident is a musical shaman of sorts; injecting his passion for dance music into dense, hungry mobs of young adults gyrating to the beats that seem to cure, albeit temporarily, the ills of the world.

Early April, VoxOnline had an opportunity to absorb the energy and essence of Jason Bentley just before his KCRW radio show aired.

VOX:  What have you been up to?

Jason:  I continue to produce and host two different radio programs. One is at KCRW Public Radio (89.9 FM) and at KROQ (106.7). And the last year and a half, I have worked at Maverick Recordings which is Madonna’s record label. I was brought in there to bring new music from my genre and scene. It has been fun and a challenge. It’s been a process of learning but I’m getting into it.

VOX:  Where did you get your start?

Jason:  I went to Loyola Marymount here in LA. I worked at KXLU, which is a great college radio station. It’s at college where were I discovered House music and I discovered the "underground scene." It just changed by life. I knew I wanted to be a part of a world where people are so free. That’s what the dance scene is about.

VOX:  What’s more of your love? Do you enjoy being behind the turntables?

Jason:  Yes.  I haven’t found a replacement for that or anything that matches that, but I will always hold on to djing as long as it provides that kind of creative high. The feeling I get, the empowerment of bringing music to people is completely from the heart. I can’t see myself stopping.

VOX: Where do you play?

Jason:  I produce my own event, which is on Thursday night, at the Pink in Santa Monica.  We’ve been doing it for four years now.  It allows me the freedom to do my own thing and not have to cater to any audience I just play my vibe and that’s why people come.  I also do special shows like opening up for Fat Boy Slim.  I’ve opened up for David Bowie, the Prodigy, Orbital; almost every top artist in this genre.  I have also enjoyed the shift where the mainstream has started to appreciate dj culture.   When I say "open up" for David Bowie - I am the opening band. There’s no [four piece] band.

VOX:  What was your role with the Matrix?

Jason:  It was the music supervisor.  That responsibility is two-fold.  You have to fill the music queues in the movie and you have to put together a compilation soundtrack, which is going to sell records. Because that’s the name of the game in the music business.  There is a delicate balance because what’s right for a specific scene [in the movie] isn’t necessarily the type of hit single that’s going to sell.  The directors just want the right sound and they don’t care about it being a hot artist or the next hit single.

VOX:  What did you think of the movie?

Jason:  I loved it.  I am a sucker for science fiction.  When I was kid I collected comic books.  "The Matrix" will clean up at the box office.

VOX:  How did you get this opportunity?

Jason:  I was the music supervisor for the movie "City of Industry."  I feel I was in my boss’ radar for this type of project.  That’s I why I joined Maverick - to have an impact on the mainstream level.   Now, you go everywhere and it’s "The Matrix."   Open any newspaper and they have two page spreads.  I am trying to effect the rock and roll industry.

VOX:  What was the process in compiling this soundtrack together?

Jason:  The first thing was for me to check out a rough version of the film.  I saw it on a Friday, spent the weekend conceptualizing, and then went to work on Monday. When I saw it I knew I could do something conceptually. The idea of the movie is a futuristic world, technology out of control, and questioning realities. It was pretty easy to emphasize this through music.

The next challenge was the time frame.   For one month, my life was this project.  Believe me, it was stressful with deadlines, and the politics of putting this on.  There were 8 music queues in the movie, and 13 available spots for the soundtrack to fill.  Each slot from 8-13 became valuable real estate.

So many hurdles and even in the last days, our legal counsel said there should not be songs of over five minutes on the soundtrack! Anything over five minutes would require additional legal wrangling. When I finished it I was so relieved.

VOX:  Any personal favorites on the soundtrack?

Jason:  Rob D with "Club to Death," released about two years ago. It has that beautiful piano, classical feel, driven by a hard hip-hop beat. It came straight out of my dj box, which says a lot for the creativity. It’s a little 12-inch white-label vinyl gem that I brought to the director and he just loved it.

VOX:  Why is it difficult for major labels to embrace dance music?

Jason:  In America, to "break" an artist it is a huge campaign.  It takes a lot of money and a lot of people.  So when the stakes are that high they’re going to play more conservative.  They’re not going to part from the formula of a four-piece band, writing pop songs, with a specific structure.  It took fifty years to refine this.   They’re not just going to toss it out the window and say "hey, lets embrace instrumental Techno.  Every element of rock ‘n roll has been refined: the use of the guitar, it being portable, going to the edge of the stage and showing your craft.  All of these things lend support to a system of rock ‘n roll.  What we’re talking about is something completely different.  Not only in song structure, not only in sonic range of the music, or performance.  It’s something threatening.  The record companies aren’t just going to toss it out the window just because the underground says it’s cool.   As much as MTV wants to ignore it, or radio wants to ignore it, it is the folk music of today.  The technology embraces everybody.  You don’t even need to know how to play a guitar.

VOX:  What’s your motivation?

Jason:  I feel like I serve a community and that’s why I do it.  The motivation to be that type of a person comes from the community who has put me in this place.  Those are the people who stop me on the street and thank me for doing what I do.  And, it’s really my pleasure.  It’s like, for example, a primitive village, and my role is a music person - a musical shaman, a digital shaman of sorts.  I accept that role.