Do you spend a lot of time at home in Stuttgart?
I grew up in a small village 20 minutes away from Stuttgart, the main city in South West Germany, and still live there, making music and working. It is a great place to live.
This mix was recorded during Mannequin Records label showcase at OHM club in Berlin. Do you share the label’s concepts and ideas?
To me, Mannequin Records is a label producing high-quality sound; I’ve been collecting their records since the very first release. I like mixing different music in my sets: from techno to various styles of synthwave. Releases of some artists from this label go along with my tastes and fit into my collection perfectly.
You organized your first party in 1987 and performed there as well. How did your tastes change over the last 30 years?
Back in 1987, I played a wide range of music from synthpop to early house tracks. I liked putting something from Frankie Goes to Hollywood, Depeche Mode, or Anne Clark. Years after, some interesting and quality things, which I’ve added into my collection, appeared in the field of the “new dance music” (I mean new beat and techno). For the last 15 years, I’ve been researching on Italo disco, minimal synth, EBM and electro; I still remain at the intersection of different styles as in 1987, though, with a wider choice of options.
It is hard to compare music of that time and what I play today: a lot of new music was produced and old music became much deeper. For many years of digging, I’ve put together a considerable collection, many things out of which are real treasures. I love sharing them with the dance floor.
You once said that most DJs prefer not to step beyond one style and you, on the contrary, always try to combine things. Now more and more artists prefer quite eclectic sets. How would you explain this trend?
I think this trend is primarily linked to the recently formed need to escape monotony: you can’t surprise anyone if you put exclusively house or techno. Also, digital format and modern technologies put DJing away from being elitist, making it a common thing available for almost everyone: there are lots of new artists and music nowadays. Moreover, the recording industry has re-issued many records that were inaccessible until recently, being too rare or expensive.
In another interview, you had mentioned you prefer vinyl to digital. You haven’t changed your opinion since then, have you?
Sometimes I digitize some records to make edits or a remix; still, I mostly use vinyl and cassettes. Buying vinyl, I support artists and the record industry.
As a collector of vinyl, what do you think about the role of this format and its future?
As a collector and producer, I think that this is the only right way to release music. Making a parallel release in digital format is good, but I'm not going to let music exist only in digital. With this in mind, I hope that lots of artists will keep supporting vinyl and industry will continue to develop and grow.
You started making music in 1997, but the first release came out only in 2001. What was happening during these four years?
In 1997, I released one track on a CD compilation I made at the studio of Klangstabil. After that, I started building my own studio. It took four years to collect needed equipment to record my first full release. I have something coming out not that often as I’ve got many other tasks and responsibilities besides music; I share my music as often as I have the energy and time for it.
You visited Kyiv 12 years ago. What impressed you the most about the city?
I spent just a couple of days in Kyiv in the end of 2004, during the Orange Revolution. I remember performing in a small club, which name I forgot. It was cool, I had a great night. It has been many years, I would gladly return to this city.