[Music & Interview]: Sid Le Rock


Music & Interview
Sid Le Rock


Sid Le Rock … another Canadian in Berlin 😉



Hello Sheldon. Nice to have you for our little interview series. We are also looking forward to our exclusive mix that accompanies this feature. So let‘s start with the very beginning. Where were you born and raised? How was your youth? What kind of music did you listen during that the time (being a teenager discovering his first music / records)?
Hey Jürgen. Thanks for inviting me. I’m from the Northern regions of Ontario, Canada. My father was a miner working at a uranium plant in Elliot Lake. Hidden by nature and surrounding lakes, it was a great place to live during my early youth. I’m still glowing from the mild radiation haha. Like an normal pre-teen during the 80’s radio era, I guess I was pretty much in to various styles of music. Mainly synth pop, punk rock.

Sid Le Rock 1
(Sid Le Rock, promo pic by Thomas Venker)

You came from Canada to Germany in 2003. What was your reason to move overseas? Why at that time? Do you still go back regularly? What are the main differences between/ of living in Canada and Germany?
Needed a change of scenery. Music allowed me that opportunity to see and experience the world.

Sid Le Rock 2
(Sid Le Rock, promo pic by Chrisette En Chachette)

Your main artist name is Sid Le Rock but you also have several other aliases like Gringo Grinder and Pan/Tone. When did you set them up?And when do you use which one? What is the music style of each?
I’m a gemini, so the aliases fit my multi personal agenda. Pan/Tone was my earliest project. My high musical output at the time required that I create these aliases just to keep up.

(video of “Silent Service”, taken from “Sink or Swim EP” on Hafendisko)

The first time I realized your existence was with your debut release of “Written In Lipstick” on Ladomat2000 which was a sublabel of Mute Germany in some ways at that time. Could you please tell us something about this time and your start? How did you get in touch with Lado? Did you realize that it was the German dependence of a legendary label with bands like Depeche Mode, Movy, Nick Cave, Erasure etc? After that you had several labels to put out your Sid LeRock stuff e.g. T.Raumschmiere’s Shitkatapult. How did that happen? What was the main differences between these labels? For some special releases you also run a label by yourself, “Cereal/Killers”. How was it being on the opposite side and doing that work? Did you like it?
I was a long time fan and collector of Ladomat’s early releases, so yes I am quite aware of its legendary status. It was always my dream to release music with them.

I simply mailed Ladomat a cd demo, because that’s was we did back in the early 2000’s. They liked what I sent in and we signed a 2 album deal. The label unfortunately folded after the release of my 2nd album – Keep It Simple, Stupid. Same financial pressure of the time the happened to many great labels due to the collapse of record distribution companies.

It came as a relief that my own musical existence was not in jeopardy when I signed my 3rd album with Shitkatapult. T.Raumschmiere and I had been friends since we both meet in the beginning of our music careers, so it felt naturally to do something on his label.


(stream of “Close Again”, taken from “Written In Lipstick” on Ladomat)

During the Lado time you made a few remixes for label mates like Commercial Breakup. Later you also were in charge of a remix for Mute’s flagship Depeche Mode. Is it different – perhaps difficult – for you to work with stuff of other people (compared to own productions)? How do you start your own stuff and how do you get into the creation of a remix? Depeche Mode are known for being very progressive regarding remixers & remixes – always looking for something new and upcoming. Do you know how it happened that you became one of them? Did the remix help spreading your name and ideas?
It usually depends on the original song. If there’s key components in the track that may be useful, then this aids me in the rework of the track. If the song lacks ideas or just ain’t my thing, I skip it. In the case with my remix for Depeche Mode, Daniel Miller’s label manager contacted me at the time. He said that Daniel has been following my music and would like to hire me for a remix. I was thrilled at the opportunity, of course, but was bummed out that the track didn’t…lets say motivate. I worked through it and managed to come up with two remix versions. Happily, both were accepted. Did it help spread my name? maybe it brought me a new fan-base, Maybe it didn’t. It was pre-social media, so it’s hard to say.

(stream of Sid Le Rock’s remix of “My Garden” by Commercial Breakup on Ladomat)

Many artists complain that a music career nowadays is more based on image, instagram pictures etc than good music. You are already part of the game for more than 15 years. Do you feel a change? What is different? What do you think about social media? At the beginning of the digital revolution a lot of people said it will become better and easier for every artist. No labels, no agencies, no bad contracts etc. As said above you were mostly signed to a label. Do you think labels are still necessary? Any suggestions for young artists how to start?
Yes there is a major difference in how it has changed. It’s not really about the music, more so about your abilities as a social influencer., but be aware that that does not mean innovator. People often confuse the two. My only advise is do your own thing, have your own voice and stick to what makes you feel fulfilled creative wise.

Sid Le Rock 3
(Sid Le Rock, promo pic by Chrisette En Chachette)

Back to your work. You also play live from time to time but not very often. Is there a reason for it? How do you decide when it is time to play live or perhaps “just” to spin some records? Which equipment do you use live and how does a live gig look like?
I still perform live and enjoy it but you’re correct, I much prefer to dj these days. It’s much more open and allows me to take a break from my own production. Offers ideas, play longer and nowadays, a lot of venues lack to space for equipment

Sid Le Rock 4
(Sid Le Rock, promo pic by Chrisette En Chachette)

The initial reason for this interview was the release of your current album “Scenic Route” on Hafendisko. Please tell us something about the content. What inspired you? Which topics are assimilated? How did you produce it?
My longtime girlfriend, family and friends inspired me. It came to me as a collision of all my life experiences – discipline, humility, ego, maturity that processed this new album.

(snippets of Sid Le Rock’s album “Scenic Route”)

Coming closer to the end of the interview I would like to know a little bit about music you like. Could you please name 10 records/tracks that are important to you and also why?
simple. I listen to good music that fits its maker.

(video of “Foreign Love” taken from the album “Busted With A Bag of Bliss”)

Already the last question… it is about your plans and your future. What’s coming next? Some interesting projects in the pipeline? Nice gigs you are booked for?
Re-release & re-edits of my personal favourites from my Pan/Tone & Sid Le Rock back catalogue is underway. Beyond that, wherever the wind blows, I go against it.

(video of “Cry Wolf” by Pan/Tone taken from the compilation “A 100 Years Of Areal”)


Sid Le Rock’s “Scenic Route” on Hafendisko


Exclusive Mix:


Tracklist of Exclusive Mix:
01) Sigward feat. Mirza – Head
02) Weval – Half Age
03) Norwell – Citadel
04) Alien Alien – Secret Sabbah
05) Fumoir – 1,2,3,4
06) Sid Le Rock – Judas Beast
07) Undo – Computer Friends (Cabaret Nocturne Remix)
08) Audio Junkies – Synopated
09) Bog – Orgins (Malbetrieb Remix)
10) Bardia Salour – Persepolis (Sid Le Rock Remix)


Nevermind Booking Agency


Sid Le Rock


[Music & Interview]: Peryl


Music & Interview


Peryl … a live act and producer like no other. Intense, dark, rough and driving,



Hi Dennis. Nice to meet you virtually for this small interview. Let‘s start at the very beginning. Where were you born and grew up? What kind of music did you enjoy in your teenager years?
Thanks for having me, it’s always a pleasure to work with you and the novafuture blog.

I was born and raised in a smaller city near Tübingen in South Germany.

When i was four years old i started playing drums and created my own style of punk/metal music. Later my two siblings influenced me into the punk scene. At a young age i already started to visit some festivals and concerts.


Peryl 1
(Peryl, performing)

Assuming that you cannot live from the earnings you get with music, what’s your profession? Or do you study (what?)? What are your spare time activities/hobbies/interests beside making music?
I’m working as a event technician so its kinda familiar with the clubbing scene. I’m spending a lot of time with my friends cause this is a really important thing for myself and of course my music.

Peryl 2
(Peryl, promo pic)

You have 3 EPs out on Codec992, Schizophrenia Crew (now Antagonist Field) and Lebendig. How do you select the labels for your stuff? Are your tracks nearly finished and then got signed by the labels or do you produce on request? If they sign existing tracks are these tracks some kind of demos where some changes are needed or finished ones? Are labels nowadays really necessary to release own stuff digitally? What is the role of a label now – what’s the advantage released on labels instead of doing it yourself?
I always have a bunch of tracks to go. Sometimes i produce on request so i can create an exact mix between my style and the label himself. I think a track is never completely finished. You can always make the track better or change some things on it. I do not think that you need a label to bring your stuff to the audience.

If u have a label to release your work you definitely can reach more people but for me the important thing is to reach the right people. It doesn’t matter how much, it depends on who and why.


(full stream of Peryl’ “Du & Ich” taken from “Lust EP” on Antagonist Field)

Let‘s go deeper into your production process. Where does your inspiration for a new piece of music come from? How do you start to work on a new track? What are the next steps til your track is finished? You use vocals in some of your tracks. Where do you find the samples or singers?
My inspiration comes from listening to a track, trying to get into the producer’s mind, but ultimately not getting what he wants to say. It sound strange but that’s the actual thing that gives me the punch to create something new.

For me the leading thing of a production is to bring over a message. A message with which the listener can do whatever he wants. Every track from myself has a different effect to every single person so everyone can create his own picture of it.

I generally start with an idea that I have recorded on my iphone, and try to implement it as well as possible. In most cases the finished product is no longer comparable to the idea I had at the beginning. All vocals I used In my own productions are self-recordings. Except the LOVE IS JUST A WORD project. These vocals are made by a very talented girl from Stuttgart called LENA BEE.

The track with luca was a very spontaneous one. I posted a melodic idea I had on my instagram and he instantly texted me that I should send it to him, he wanted to sing over it. I thought yeah it could be nice with some german wave vocals and its also a good thing to create a mixture between my perspective of ,,wave’’ and his special part for it. I love him, he’s my favourite secco-boy!


Peryl 3
(Peryl, promo pic)

Your music style is a mixture of EBM-ish tunes and techno. What is your personal connection with EBM and Industrial music – music that is based in the 70ies and 80ies with strong comeback in the last months?
For me it’s the perfect mix between the roughness of punk and techno. I’m really into music that isn’t well known. For me music doesn’t have to be big or famous. It has to be understandable.

(full stream of Peryl’ “Restrained Devotion” from ISMVA001.1)

You come from the southern Germany. Could you please give us a short overview how you see the scene there? Where do you go for party etc?
The main techno scene is really hyped there at the moment but for me I cant really cope with the popular scene. When I go for party I mostly go to LEHMANN CLUB or visit the BASISLAGER events in Stuttgart. Hopefully ill be back in Stuttgart soon but for now I will focus on my start here in Berlin.

( video for Peryl’s “Insurgence” taken from LBNG00.03)

You already played live e.g. at Synoid / Griessmühle. How do you prepare the sets on the technical side and also personally?
I didn’t prepared any special things for this gig, because I knew that the audience was really open minded and ready for everything. I really enjoyed it there and I can say that I’ll be back in berlin very soon!

(snippet “Dein Wahres Gesicht” by Peryl feat. Luca Gillian’ taken from LBNG00.03)

Please name 5 techno and 5 EBM records that are essential for you and tell us why.
We have so much good music out there and I can’t decide witch ones speaks to me the most but here are three of my all time favs at the moment.

01. Limelight Roles by Habits Of Hate
02. Variant by These Hidden Hands feat. Lucrecia Dalt
03. Die Konsequenz ist Logisch by Rosa Nebel


( video for “Die Konsequenz ist Logisch” by Rosa Nebel)

You are a young guy, a digital native so please let us know what you think about the twist between analog fetischist and modern DJ using digital technology.
ANALOG is the opposite of ANA sagte die Wahrheit!

(full stream of Peryl’ “Molotov Brutality” taken from LBNG00.06)

Yes we are already at the end of the interview. So please share your future plans with us! What’s coming next?
I don’t want to say to much but there are big pans for the future!

I have a side project which is called “FEIND” for some Noise/Experimental stuff.

Hopefully I’ll have some free time in 2020 for some productions or maybe some performances. I’m also looking forward to my lebendig-family, we had a really nice year together and we don’t stop!

Let’s see what the other half of the year will bring over.


Peryl’s “Rebellion EP” on Lebendig
Peryl’s “Dagegen EP” on Lebendig
Peryl’s “White Tight Space” on South London Analogue Material
Peryl’s self-released “She Said It’s Enough EP”
Peryl’s “Lust EP” on Antagonist Field
Peryl’s “Not Yours EP” on Codec 992
compilation “ISMVA001.1” w/ Peryl track on Ismus
compilation “Various Artists II” w/ Peryl track on RND. Records


Exclusive Live Set:


Tracklist of Exclusive Mix:
this is a live set recording during one of Peryl’s gigs


Sinus Agency for Peryl




[Music & Interview]: The Chronics


Music & Interview
The Chronics


The Chronics … head of the label Bipolar Disorder



Hi Marc, nice to have you for our interview feature. Let’s start with the very beginning of your life: where were you born and raised? When did you discover music as a hobby (being a music listener) and when did you decide that you want to be part of?
Hi Jurgen 🙂 First of all thank you for having me on NovaFuture Blog. I was born and raised in the beautiful city of Geneva in Switzerland. I discovered music at a very young age because of my parents who would listen to music 24/7. At 8 years old, I inherited an old CD player from my father and ever since, I made it a thing to dig into his CD collection. From Gainsbourg on my father’s side, to The Beatles on my mother’s side, I always had something cool to listen to.

After listening to all kinds of classics, I finally discovered true love for electronic music starting with Eurodance in the year 2000. At this point, I fell deeply in Love with this fast music full of emotion. I got into Techno whilst at a couple of events in Geneva and it was at this moment, I knew that it was the music which make me vibrate the most.

My choice was concretized after a couples of months in Berlin listening to all the greats and being submerge by all this culture related to electronic music. I finally found a place where you can be yourself without being judge. Since then, Electronic Music was a way for me to escape the system and to forget about all your problems. When I had the chance to get my first salary, I spent all of it into my first music equipment that I directly set up in my best friend garage where I started to play for my friends mainly for before and after party.


The Chronics 1
(The Chronics, playing with the machines)

Could you please tell us something about your artist name? What does it mean and how did you choose it?
Ahahaha, I was sure you would ask this question…. well my artist name is basically based on my first Soundcloud name. At the time I created it I was deeply into the « The Chronics 2001» mixtape from Dr. Dre. so, I was like why not. I didn’t take it too seriously and I had my first gig, my second gig and at the end I kept it this way. 4:20 for Life.

The Chronics 2
(The Chronics)

What are your inspirations and influences as a recording artist and as a dj?
I would say that my main influences have come from the Eurodance era, which is based on synths full of emotions and fast rhythms. I am also really into all these organic sounds that feel like they come from a living machine, which gives the track a real dynamic and depth.

(full stream of The Chronics’ “Contemporary Answer” taken from BDD007)

You play regularly in Switzerland and invite people to play with you at Folklor (Lausanne). How do you see the scene there? How would you compare it with other countries?
First of all you have to know that Switzerland is mainly separate in three parts: the French one, the Italian one and the Swiss German one. Concerning the French part of Switzerland, I would say that the scene is born from rave parties hosted in squat many years ago and at this time few clubs were hosting techno events. But since a couple of years techno has been the new thing in our area. We now have electronic music events every weekends in different clubs and during the summer, we got almost every weekend rave parties.

Since 3 years, we have plenty of motivated persons who are getting more and more involved in the scene and who are trying to make things move. The only problem we have regarding our scene is coming from the persons who are doing that only for the hype; pretending to be authentic music lover and make some for a cause but at the end they are only fake persons and this kinda person doesn’t last. The scene here is not comparable to any others because of its lack of maturity but our scene is mainly based on Rave Parties and the spirit of raving remains strong and you can see that there is more motivation regarding a rave party than commercial techno events. Keep it real!


The Chronics 3
(graphic for one of the gigs at Folklor in Lausanne)

We talked about inspirations but how do you work on new tracks? What is different when you get a remix request?
I finally found my final (LOL) set up (there is no final set up ahaha; that’s why “ LOL“) which is composed of an analog rhythm, my modular and a moog Sub 37. I always start a new track by creating a sound on my synths/modular and as soon as I find something that triggers my emotions, I keep it and build a track around it.

Regarding remixes, it is Christmas every time I received a stems pack. You open it and I discover what is inside. Sometimes it is some pretty good material well exported with nice and well processed parts at the good volume and sometimes it s not… (Laugh) but in any case remixes are for me a way to re interpret someone feelings. I used the stems and process them into many effects to change the way it sounds but trying to keep whats make the original sonority as much as possible. After all the sound processing, I start to build a track which is telling a total different story than the original.


(full stream of The Chronics’ remix of “Excessive” by Åre:gone taken from BDD016)

You are also part of the duo. We want to keep the name secret but would like to know how you work together as a duo and when you came up with this idea.
The duo is a story of two people who share the exact same energy. It comes naturally that I have to work and collaborate with this special person and after a year of collaboration we ended up with something innovative, which represents us. Living in two different countries does not help a lot so we have to travel to work together. However, we remain an efficient team and have a productive sharing system, and our shared love for music has created a harmonious and efficient comradely.

The Chronics 4
(this duo? The Chronics w/ his cat)

You are the head of the label Bipolar Disorder which we supported already from a very early stage. Your artist & track selection is very nice. Please tell us something about the history of the label. How do you select tracks/artists for your releases? What is your concept? Most of the releases are digital-only – just 3 vinyl releases are available now. Do you think vinyl is still something that has its value in the scene?
The label was created in January 2016 with the aim of promoting and giving the best tools to local artists who wants to release their music. I would say that I consider more Bipolar Disorder Rec. as a big family of people who are on the same vibe more than a typical label. The concept behind the track selection, without sounding selfish, is based on music we love. There are no special criteria, we focus on the energy and the emotions we wish to share. We rarely accept demos; we always look for artists with potential and based on that we try to work with the artist on the development of an EP.

Regarding the vinyl question, I would say that this format is for me a unique piece of art expressing itself through different support such as audio and visual art. As a physical object vinyl is something you can easily do a collection of and which aims to last forever. I have a lot of respect for artists who spent ages digging for the perfect gems but on the contrary I m a bit tired of DJ’s playing vinyl only for the hype with the famous words; « Hey Mate vinyl’s sounds 10 time better than digital tracks… blablabla ». Vinyl is something you will keep with you forever and that you will pass to your grandchildren like “yeah that was what I was listening at your age” (with a huge smile on your face).


Bipolar Disorder
(logo of Bipolar Disorder)

You provide an exclusive mix with stuff from your own roster. What is your intention and why did you select these tracks (from over 19 releases)?
I have built this podcast with the aim of showing what Bipolar Disorder Rec. was capable of. The podcast start with some chill tracks setting up a deep ambience and minutes after minutes the emotions will rise and the the BPM will increase to something more rhythmic and more trancy until it reaches its full power and at this time the tension decrease and we go for something deeper with these kind of tracks which will let you in a good feeling fulfilled of love and happiness. I tried my best to play as much as possible releases we had on the label but it is not an easy task; I’m sorry for those I forgot to play.

BDD001BDD004 BDD010 BDV001
(a few artworks of Bipolar Disorder releases)

What are you all time favourite records/tracks (name them and please also tell us why)?

01. Played A Live by Safri Duo
I was 10 years old when this track was released. I think thats the track which convince me about the power of drums and the emotion you can put in synth. This mix between emotion and fast rythmic made me deeply found in love with the electronic music.

02. Pick It Up by Redman
This track put me always on a good and chill mood. Redman always has the flow and I always felt close to his way of thinking.

03. Si Tu Kiffes Pas by Booba
Booba at its beginning what else should we say?

04. Spacer Woman by Charlie
This track is for me the beginning of the electronic dance music it feels like a robot who’s feeling and talking like a human; the in between of electronic coldness and human feelings.

05. L’Hotel Particulier by Serge Gainsbourg
Used to listen to Serge Gainsbourg since year one, I got the chance to get through all his albums and for me this track makes me discover the power of a perfectly executed synth and all the changes in term of vibe you can bring with only one synth. (2min15)

06. Cheree by Suicide
I think that’s pretty much the track which make me fall in love with all these organic synths and breakable rhythmic.

07. Lagonda by Deepchord
This track is not that old but the work of Deepchord always astonished by its perfect vibe. There is so many thing going on that your brain is like completely travelling across the amount of information delivered by the track.

08. Parade (Dominik Eulberg Remix) by Rone
The first sunrise I had in Berlin was at an open air where Rone was playing; it was one of the first time I cried listening to music. The moment was perfect. Perfect music, Perfect people, perfect vibe everything was aligned to get this perfect moment which will be forever one of my best memories.

09. Computer Interface by Computor Rockers
“Break Beat is the future » – The Chronics 09.08.2019


(stream of “Cheree” by Suicide)

Already the last question: what’s coming next? On your label? For you personally? Give a glimpse of the near future 😉
I have a couple of digital releases planned before the end of the year and I will have my first vinyl release end of 2019. Regarding the label, we will announce the next vinyl release end of this month.

The digital release of September will be special and I’m pretty sure you’re going enjoy it :).

Moreover, we started a new concept of releases, which will come up 3 to 4 times a year with a special and unique vibe quite different from the original material we usually release.

Regarding events, we are planning the 3 years anniversary of the Label in January 2020. The birthday party will be hold in 2 different cities during the weekend and we are still thinking about the perfect line-up. Stay tuned <3


The Chronics 4
(The Chronics, chilling)


compilation “Formless Vol. 1” w/ The Chronics track on Abstraction
Distant’s “Der Damm, Die Aufpasser & Der Mörder” w/ The Chronics remix on Terra Furia
Irregular Synth’s “Alive EP (The Remixes)” w/ The Chronics remix on Dirty Minds
all featured Bipolar Disorder releases


Exclusive Mix:


Tracklist of Exclusive Mix:
01. Zaehler – Okerlo
02. Tronus – Ater (Vilix Remix)
03. Opal -Obsidience
04. Netsh- Bot Heart
05. Tronus – Ordos
06. Isolated Lines – Ombres
07. Casual Treatment – Silicate (Splinter Remix)
08. The Chronics – Primitive Reaction
09. Opuswerk – Fractions (Antigone Remix)
10. Chlär – Momentous Sacrilege (Takaaki Itoh Remix)
11. Non Reversible – Ellipsoid (Philippe Petit Remix)
12. MTD – Impulsive Noises (Hertz Collision Remix)
13. Netsh – Layer (Keikari Remix)
14. Opuswerk – Eme
15. Bylly – Confusion
16. Åre:gone – El Cuarto De Las Puertas
17. Hioll – Methodical Way
18. Lars Huismann – High voltage (Gareth Wild Remix)
19. The Chronics – Contemporary Answer (Lars Huismann Remix)
20. Chlär – Occult Authority (Mørbeck Remix)
21. Lars Huisman – Grey Rock
22. Chlär & Apothicaire – Absolute Control
23. Willy Parker – Vehement (Violent Remix)
24. Niclas Erlandsson – Of Color Restrained
25. Non Reversible – Initial Mass Function
26. Mercury 200 – unreleased
27. Mercury 200 – unreleased
28. Niclas Erlandsson – Subdued By Reality (Rune Bagge Remix)
29. Åre:gone – Excessive (The Chronics Remix)
30. Antonio De Angelis – unreleased
31. Apothicaire – Oath


Urbanum for The Chronics


The Chronics
Bipolar Disorder


[Music & Interview]: Invia


Music & Interview


Invia … member of the Voitax crew



hi Martin. Nice to have you for a „Music & Interview“ feature. Let’s talk about you, your DJ career under the moniker Invia, your crew Voitax and the life in general starting at the very beginning. Where were you born and where did you grow up? How was your youth? What kind of music did you listen to when you were a teenager etc.?
Hi Jürgen. Thank you for the invitation to do the mix and this interview. I was born in 1987 in Thuringia and grew up in a small town near Erfurt. I was introduced to music pretty early on – my mom happened to be the music teacher at the elementary school that I was attending. She also enrolled me at a music school, where I learned drums and piano. I quit music school after only a few years – something I know really regret. Around the 2000s I came in touch with electronic music. Initially it was all pretty random stuff, mostly through videos on MTV and VIVA. However, after a while I got really into it and started watching the HR3 Clubnight shows on the weekends and got deeper and deeper into the scene. My older friends supplied me with mixtapes – those were heavily influenced by House and hard Techno (still called Schranz at this time). When I turned 16, after I had already attended some Techno parties, I finally bought my first records and turntables and started practicing mixing.

Five tracks/records that had a major impact on me and led me to electronic music:

01. Sandstorm by Darude
02. Silverscreen by Felix da Housecat
03. Emerge by Fischerspooner
04. La La Land by Green Velvet
05. 1982 by Miss Kittin & The Hacker


(video of Green Velvet’s “La La Land”)

Can you tell us more about your home town? How is your relationship to it nowadays? How is/was the techno scene there?
My hometown was in a rural area, pretty much in the middle of the “Thüringer Becken”. It was basically the perfect place for a happy childhood, but once you get older it becomes pretty boring there, there wasn’t really anything to do as a teenager. But to this day I still enjoy going back there to see my old friends and family. Sometimes it’s nice to leave the stressful life in Berlin and breath some fresh air back in your hometown. The Techno scene in Thuringia, however, was pretty big around the 90s and 2000s. There was a good party somewhere nearly every weekend, sometimes legal, sometimes illegal, in old warehouses or industrial buildings, clubs, or just outside. We had great DJs from Germany and abroad coming to these parties, so they drew quite big crowds with people sometimes travelling far, even from other states. I used to put on some illegal open-air raves with some friends throughout the years and got involved in some clubs, for example the WolkeZwo4, which sadly had to close a few years ago. Today the scene is much smaller. There are still some clubs and collectives who put in a lot of effort, but it is not comparable to the 90s and 2000s.

Invia 1
(Invia, djing)

You studied musicology in Giessen. Did you already graduate? What is your daily job? In 2013 you moved to Berlin. What was your reason for it? What about your spare time? Do you have any other hobbies? Tell us something about your non-music life please.
I moved to Giessen in 2008 to study musicology. After my graduation in 2013 I changed location to Berlin for an internship at Groove Magazine. It was a really nice time that I remember fondly, in which I learned a lot and got to meet a lot of great artists. But when the internship finished, it was not as easy to find a job in the music industry as I had hoped. After a year of worked all kinds of random jobs and gigs to keep myself afloat, I decided to study social work. Since my graduation I have been working as a social pedagogue at an elementary school, which I do not regret at all. If I have any spare time between work at the school, my work for Voitax and making music, I usually go play table tennis or fishing. Especially fishing is a great way to counter stress at work.

Invia 4
(Promo picture of Invia)

You play under the moniker Invia these days but you had another DJ name in the past. How would you describe your style today and in the past? What was the reason for renaming? What are your inspirations in general?
After I started DJing in 2003 I had to decide on a DJ name for a DJ contest. I didn’t have much time to think and from then to 2016 I performed as Ebi. From Schranz to House and other styles of Techno I basically played whatever I liked. But eventually I got really tired of that name and I felt like it was time for something new. Since my involvement with Voitax, I have been performing under the name Invia. I still like all kinds of electronic music and my sets reflect that. It depends on when and where I am playing, but in general you can expect anything from Techno, dubby, broken and moody tracks to Acid and Electro. I am very inspired by partying as a clubber myself and the musical exchange with my friends.

Invia 5
(Promo picture of Invia)

As mentioned you are part of the Voitax crew. So let’s talk about it. When was the label founded and what was the intention? When did you join them? What’s your task? In the past the records were hand-stamped and you didn’t announce the producer behind it. Later the optical appearance changed and you used colored photos with a strong relationship to the artistS who were part of an exhibition during your Asia tour. What kind of image you guys want to create for the label?
The label was founded by one of our partners, Benjamin, back in 2012/2013. Our paths crossed the first time on one of the Open Airs I was organizing around 2006 in Thuringia. We’ve hit it off straight away and basically have been friends ever since our early teenage years. Back in 2012 I wasn’t part of the label yet and it was only until two years later, when Benjamin moved back to Berlin, that the rest of us got involved. Christoph and I joined forces and the three of us started running the label together. We were motivated to turn this platform into something special, gathered lots of ideas, met plenty of new people, visualized future collaborations and projects and the whole thing became more professional with every year that passed. I wouldn’t say that I am playing a very specific role as all of us like to work collectively on every aspect of our label. Our work goes hand in hand, and we update each other daily about what’s going on. Of course, everyone got their specific tasks to deal with, but we regularly sit down, talk about ideas, potential projects, issues that need to be solved and so on before we turn things into action. We very much rely on each other within the label and are basically best friends outside of it – that generally makes things a lot easier.

(full stream of Cyan85’s “Astral Stream” taken from VOI016)

Last year the Voitax crew made an Asia trip for several gigs. Can you tell us something about the trip? How does it happen?
I can’t say much about it in detail because I couldn’t be part of the Asia tour last year due to work related reasons. I know Benjamin, Christoph and the guys shared an amazing experience together that can all be read in the Asia Tour Story on our website – definitely worth a read!

(full stream of Cressida’s “Deserter” taken from the compilation “X”)

At the moment there are no releases by yourself. Are you into production or are you interested in djing only? Do you work on some stuff? If yes, please tell us something about it – how your working process looks like, what inspires you, which equipment you play around etc.
Really, I have been into producing for as long as I have been into DJing. If I remember correctly, I started making beats in Fruity Loops even before I started DJing. At some point I got a Groovebox by Korg, which I later sold to buy a better Laptop. Basically, I had been producing with Ableton only for ten years, but only occasionally. Sadly, I never had enough time to arrange any of my thousands of unfinished projects on my hard drive to a level that I was truly happy with and would have felt comfortable releasing. But since around two years I am finally spending more time on producing and my studio is growing again. By now I only use Ableton for recording and adding effects. The sounds are almost exclusively analogue. My two Elektron machines are the centre of my setup. I make my drums and percussion with the Analog Rytm, I also use it for sampling and resampling its internal tracks. Most of my synth sounds like pads and leads come from the Analog Four, which also triggers a semi modular system, where I usually create basslines and experimental sounds. Lastly, I have some effect pedals and another Korg synthesizer.

(full stream of Umwelt’s “Faceless Power” taken from VOI014)

Since a few years there is a “little” dispute about DJ equipment: does a good DJ have to spin vinyl or is it ok to learn it with digital equipment. What do you prefer? What’s your equipment? Do you see any quality differences between vinyl DJs and digital DJs?
I am getting really tired of this discussion. In the end, the result is what matters, and the result is all about the music and selection. You can be amazing at mixing, but if your selection does not fit the vibe, your set is not going to sound interesting. I find it much more appealing to here a transition that might not be technically perfect, but the DJ still tells a story with the selection and draws the audience into it. I personally prefer Vinyl, because this is what I started with and I find it nicer to dig through a crate of records than to scroll through digital files. At home I mix with vinyl on a pair of 1210s and an Allen & Heath mixer, this is also how I made the mix for this feature. When I’m playing at a club, I do use digital files on an USB occasionally to play unreleased tracks or stuff that I couldn’t find on vinyl. When it comes to quality, I think there are advantages and disadvantages on both sides. Vinyl sounds a bit more charming with its crackles and its warm, full sound, it has nice haptics, the covers look great, and you can easily see how much is left of a track. However, it could be possible to face slightly irregular playback speeds, feedback due to insufficient isolation of the booth is also pretty common. And of course, the needles must be in good condition to really enjoy playing. If you play digitally, you have none of these problems. At most clubs though, the sound engineers put in a lot of effort, which is why I’m still sticking to vinyl.

Invia 2
(Promo picture of Invia)

Let us know something about your favourite music nowadays. Could you please name 5 techno tracks/records that you love and regularly listen to? Please also tell us why they are important for you.
Not easy. I bought a lot of records in the last weeks from all kinds of genres, hard to decide on only a few. The ones below represent my current taste in electronic music quite well and I really enjoy playing them at the moment. They are in alphabetical order, since I value them all the same.

01. Another Day by Clouds [Headstrong]
02. Bay Of Sampieri by Cyan85 [Voitax]
03. Reversing Into Tomorrow by O/V/R [Downwards]
04. Adequate Force by Stenny [Ilian Tape]
05. From Sorrow To Darkness by Trudge [10 Pills Mate]


Invia 5
(promo pic of Invia)

We are already at the end of our small interview. What‘s coming next? Any nice gigs? Other plans?
First of all, I am very excited for my holidays, which I will spend at the Algarve. I can finally relax, go swimming and get some sun. When I’m back I will go to Nachtdigital before everyday life kicks back in. I will also spend more time in my studio to finalize some tracks. On the 21st of August I will play at the Killekill Summercamp at Griessmühle. Other than that, there will be a few more interesting releases on Voitax, but I won’t give away too much about them yet 😉

Thank you for this – hopefully interesting – exchange and have fun with my mix!

Translation by Felix Ansmann


all featured Voitax releases


Exclusive Mix:


Tracklist of Exclusive Mix:
01. Trudge – A
02. Gian – LAX
03. 214 – Synthesizers Made Of Paper
04. Jeals – Crash
05. Pearson Sound – Rubble
06. Amato – Puissance Industrielle
07. ESS – Trigger My Sequencer
08. Trudge – Tool
09. The Exaltics – Skyway Chase
10. CEM3340 – Shadow Of The Blondie
11. Cyan85 – Astral Stream
12. Shedbug – Aciidmuzik
13. Jonas Palzer – Scenes
14. Luz1e – 4/5/20/18/15/9/20
15. ESS – Thermo Drive
16. Ryan James Ford – Slown Ridel




[Music & Interview]: AVION


Music & Interview


AVION … head of the label Crossing



Hello Carsten. Great to have a new instalment of our series „Music & Interview“ with you including an exclusive mix. A already established start for our interviews is to ask for your childhood and youth. So please tell us where you were born and grew up. Also let us know what kind of music made you a music freak, what kind of music you listened to being a teenager.
Hello Jürgen thank you for inviting me here.

I was born and grew up in Rostock. I was very lucky to live my youth in a small village some metres from the beach (Baltic Sea). Having your home where others doing holidays was something special and it is still what I always miss when in Berlin.

As I was 11 or 12 my older brother brought many records from Bonzai, Depeche Mode, Front 242 or Mokum Records at home. He did that ingnition for me to have a deeper look into rhythms and music. To be honest I also loved that Eurodance sound which came up and I am still pumping up the volume in my car when I hear a 2 Unlimited song in the radio. But that was only a small part for me.

The bigger part were these ealier Hardcore sounds (3 Steps ahead, Salami Brothers or DJ Dano) also the live broadcast from Mayday was something I always watched and had on video. I still remember that fantastic set from Carl Cox. I was totally impressed what he is doing there. And then I got this CD from Jeff Mills in my hand. It was the mix at Liquid Room in Tokyo. He opened a new world to me. Paired with Depeche Mode and Nirvana that shaped my musical taste in general.


(Promo picture of AVION)

As told us you came from Rostock to Berlin. Assuming you still have some kind of connection to your birthplace we would like to know more about the political and cultural situation there (Rostock, Mecklenburg-Western Pomerania, Baltic Sea) especially the techno scene – also compared to the past (key word: Gerberei in Schwerin). We just attended an amazing night at UKW in Rostock and were happy to see a lot of like-minded people there. Is there a scene or does everybody attend the club nights in Berlin? Any new talents from this area?
Rostock still owns a big part inside my heart. The scene in Rostock is not compareable with Berlin. It is obvious much smaller but also very intense and not so anonymous like Berlin. Both have their advantages. In Berlin you can be more by your own in the nightlife but in Rostock in that scene you have a smaller group of people who are going out and enjoying the night like we do.

For Clubs like UKW in Rostock it is very tough to exist as the authorities are still ignoring that institution. The owner of the UKW are longtime friends of mine and we are all playing music and shaping the scene more than 25 years together. I am super proud that I am still a part of that scene and playing regularly in this outstanding location.

The UKW is not a moneymachine. The people who are running this are doing it for the scene and to support newcomer and music from town. They are music nerds and –lovers. It is a similar feeling as it was for Gerberei Schwerin. We are all connected and value our roots. Some kind of a special family and their bonds.

Same as in the Gerberei the people built that clubs by hand and not a big investor with loads of money to only book the next hype. The bookings for UKW and also for Gerberei are/ were handpicked with much love to the music.

It’s a shame that the UKW is still ignored and unpriviliged by the political authorities as they are doing a lot for the cultural education and the music scene in Rostock.

The Gerberei showed all of us how it should be and what feels right. What Ron, Stefan and Zacha built in Schwerin was unique for so many people and the guests were coming from everywhere around and found that place where only music and its history existed not following any hype.

There are lots of talents connected to the scene in Rostock but for Rostock they are definitely not new. DJs like Subjacked, Yavin or Micha Lieb are wonderful selectors same as the growing number of other residents in that club. They all do it out of passion without having a focus on fame, money or whatever is toxic for our scene.


(Promo picture of AVION)

We talked about your favourite music during your youth. Had this music any impact on your own way of getting a DJ, musician and label owner? What are your musical influences? Which topics/issues/situations from other areas of life inspires you for making and playing music?
Oh yes. As mentioned the record collection of my brother and the Jeff Mills mix as well TV Shows like Housefrau on VIVA TV were a big influence.

At some point I wanted to understand how this all is happening. Where do all these sounds, noises and melodies come from and how can I do my own? To be honest I still have no clou and as the universe is continously expanding the music is doing that too. So nearly everything around me inspires me.

Also the exchange with other artists is giving me a lot to create something new and look deeper into. I am trying to stay open minded and not to be fixed on genre. This is also how I DJ. Trying to get out of the box and working out the moment for something new.

I am a big fan of noises any kind and not that classical melody maker. Sure this can be related to my engineering metal industry job where these noises are all around me. For me this is kind of melody. You do not need a synthesizer or a piano to create a melody. My melodies are maybe a bit different and I see this world with different ears.

Like I have seen Martin L. Gore throwing that stone on the balcony of the Hansa Studios for their album „Some Great Reward“ in 1984. Sound and melody is all around us.


(snippets of the first Crossing release by AVION)

Actually knowing it already you are a Depeche Mode as we are. So we would like to know which 10 songs/tracks/remixes are your favourite ones and why they are important for you (which meaning do they have for you)?
Some of the songs have a very special feeling related to challenging but also beautiful moments to me. It is hard to explain for what reason each song is special.
I remember being with my wife at the concert in Rome of the last Tour (Global Spirit). It was very hot and the sky was totally clear as the second part of „Cover me“ went around the stadium and the feeling of the nearly 65.000 people there was like being able to grab for me and everyone around. Dave and Co. created a very special moment.
My favorite album is „Violator“ therefore I picked some more songs out of it and I am pretty sure it is the most played record in my collection. So the picks from that Album are „Enjoy the silence“, „Clean“ and „World in my eyes“. Especially Clean is one of my favs from producer side. It has everything it needs and not too much or less. A raw Bassline which gives that EBM feeling paired with outstanding synths and an unregular songstructure. The lyrics of Enjoy the silence are outstanding and for me relevant every single day.
From that time my favorite B-Side Song is „Dangerous“ from the Personal Jesus Single EP. I love that more rusty country/blues paired with the reduced synth feeling in it.
More songs from my favs catalogue are Precious, Leave in Silence, Only when I lose myself and the wonderful Things you said which Martin L. Gore finally performed at their last concert here in Berlin. A Goosebumps moment for me. And the 10th Song comes from Martin’s Solo Album „Counterfeit“ and is „In a manner of speaking“. And I need to mention one powerful addition „The Dead of Night“. It was the opener song at my first concert I had the chance to visit in 2001 Berlin Waldbuehne. What a killer!

01. Cover Me by Depeche Mode
02. Enjoy The Silence by Depeche Mode
03. Clean by Depeche Mode
04. World In My Eyes by Depeche Mode
05. Dangerous by Depeche Mode
06. Precious by Depeche Mode
07. Leave In Silence by Depeche Mode
08. Only When I Lose Myself by Depeche Mode
09. Things You Said by Depeche Mode
10. In A Manner Of Speaking by Martin L. Gore
11. The Dead Of Night by Depeche Mode


(official video of Depeche Mode’s “Clean”, taken from album “Violator”)

But let’s get to your own music. Your artist name is AVION. Could you please explain what it means and why you chose it? As we know it should be written in capital letters. Is there any reason for that?
I didn’t want to use my real name and wanted in first instance keep it more secret who is behind this small label. AVION is the french word for Airplane but I also learned it is the same in romanian language. It is close that it can be related with my normal job as I am an engineer for aircraft engines but it has nothing to do with it.

It is simply one of my alltime favorite tracks which is from Damon Wild called Avion.

The reason why it is in capital letters is that I found out that there was/is another producer called „Avion“ who is doing more that Trance/Progressive stuff and I didn’t want to confound with him. That’s the whole secret behind.


(another picture of AVION)

You are a DJ and musician – and also a label owner of the imprint „Crossing“. After mostly releasing your own music you also signed other artists like The Automatic Message and Milton Bradley with a new alias. What is your philosophy for the label? What image do you want to create? What‘s the idea behind the label and how do you select the music for it?
Crossing is just my musical view.

Artists like The Automatic Message, Pfirter, Doka or Milton Bradley are my taste of music and I really love their work. The Doomsday Device alias from Milton Bradley was not completely new. He already released one Single EP I think approx. one year before I met him. He said that he has more stuff at the moment which is DD and if I would be up for that. Of course I was as I bought this previous record some weeks before. It is not so easy for me to find like minded artists for Crossing and I only want to release artists who 100% present sound and label.

I receive a lot of Demos every month but many of these are only general mailouts without that they keep themselves busy with the label and its output. This is definetely not my way. Whenever I feel that it is not a general mailout or the 4th time I receive the same mail with the same text in 4 months I am listening and answer to the artists. But at the moment I am not looking for new artists as my plans for Crossing are fixed for a long time ahead.

To explain the philosophy is not so easy. It is a platform for me and other artists who inspire me. I am not following any hype. To be honest sometimes I’m feeling I’m doing everything to get far away from the actual hype. From economic aspect not clever but if I would do different and always trying to sell out the next Technobomb it would be wrong and I am sure the listener will notice it.

Music must be authentic and maybe this is the main philosophy of Crossing – to be authentic.


(snippets of The Automatic Message’s release “Crossing 009”)

The latest release on your label is your debut album „Untrod“. It includes a collaboration with Emika. How did the process of producing it look like? How did you start with the album production? What was different to making EPs? How was it to work with Emika?
Oh it was a long process. It took more than 3,5 years to get the final result. The last Track „Nebul“ was the first and some kind of kick off for the production. The direction of the album was always clear to me. No concept just clear me.

With having the draft version of Nebul I thought this Track can never be on Single EP so I need to do an album. And so it started.

Some of the tracks were created in my older homestudio in Friedrichshain, some in my new home in the woods and the finalization was completely done in my new studio room. That was important for me as I shaped that new studio room with some acoustic treatment instead of having my couch disassembled on the wall.

I do not see a real difference to producing a Single EP. I always have a bunch of tracks in several folders which I would like to release. There is never a special concept behind neither Single or Album.

I am always producing what comes up to me and not for a special order. It was the same with the collaboration with Emika. She is a brilliant and very creative producer.

Of course I wanted to work with her for a long time but I never had that special sound which made me confident that’s it until the draft version of Streetlights. But as I started with Streetlights I never had in mind or the goal that next track must be with Emika inside.

Luckily the sound of Streetlights felt like it was just made for this. So I sent her a mail and included this draft version and very short after she replied that she is touched by that sound and would like to work on it. So I finished and mixed that pre-version and the finalization was done by Emika.

It was a very easy and harmonizing working together and I am thankful that she said Yes on that. So I included it into my Album.


(full stream of “Street Lights” by AVION feat. Emika, taken from CROSSiNGLP01)

Beside the collab with Emika you already made one track with Thomas Hessler (btw the second person featured in our mix series). Also the names Marcel Fengler, Ron Albrecht and Stefan Rein appear if we look at your musical output. What are the connections to these guys and how came it to these strong relationships?
I met Ron and Stefan for the first time when I was 14 years (My first visit to Gerberei Club Schwerin on Christmas day). They always have been a big influence on sound I play and reflecting the history of music. Especially in DJing Ron was always one of my favorite DJs and I learned so much from him about reading the crowd, and working out the perfect moment. I remember one night at Gerberei when we were sitting and talking about new releases for a while in my brother’s car (I was 15 years). In the radio one of my very first mixtapes was running. As the Track „Balance“ from Acid Scout was mixed in Ron said great selection of music but the one who did this mix needs to practice…. He didn’t know that it was me but it was a little kick off for me to work and practice harder.

Stefan and me started doing a label nearly the same time and we always had a good connection and are friends since more than 18 years now. We highly value each other as artist and friend and it is always a pleasure to work and play with him.

The friendship with Thomas is special for me. We first met at the IMF Event at Berghain. He already did a Remix for the Crossing 004 which is still my favorite Crossing Release. I think we both felt a connection in what we are doing and felt like minded. We are exchanging loads of sounds and ideas nearly every week so we took the chance and made a Track together. It was a rough start but the finish was great and we created something diverse and special for us with our collaboration on that. It will not be the last one where we will work and jam together.

I am superhappy that Marcel got some of my Track ideas into his hands. Marcel is an outstanding artist for me and always has an open ear for new things and ideas. It is a pleasure for me to work with such great artists and friends.


(AVION, another promo picture)

Let‘s talk a little bit about technical evolution. Djing with vinyl is still something that a few people see as „basement” for being a good DJ (also for labels it has still image advantages to release on vinyl) but if you watch DJ most of the stuff come from USB sticks. Beatport and Soundcloud just launched services that can be connected directly to the mix equipment in clubs etc. What is your opinion about it? And from a label owner’s point of view: is it still worth to make vinyls? What’s your reason for doing it?
I learned to play music on belt driven turntables and a very simple mixer. I am thankful that I had this chance and it gave me more feeling for music, sound and haptical things.

I still play and buy records. Of course I also play digital music. It is always a mixture and I never liked that debate on what is better. I only can say these are my roots and I learned everything I have with vinyl. Everyone should find out his/her way to get the best out of it.

For the crowd it mainly makes no difference if you play with vinyl, CD, USB or only laptop. In the end the only important fact is the result, the music people play and what they can make out of it to present their signature and sound.

Due to my roots it is a part of identity for me to have Crossing Releases also on Vinyl. The market is very hard and from economic aspect it mainly makes no sense but Crossing is not only one label of many for me. It is my signature and work of more than five years as well playing vinyl is part of me of approx. 25 years now.

The possibilities are great today especially by natural technology evolution. I would never say no to evolution (I am also too much an engineer) and the way I am producing music in the studio is mainly on digital basis. Evolution is important to create different minds.


(snippets of AVION’s “Dispersion EP” on IMF

Yeah. We are already at the end of our interview. So we would like to know what is coming next? Any new stuff on your label or produced by you? Gig-wise something special coming up?
I really look forward playing this summer again with Marcel (Fengler) in Schwerin. We last time played one year ago at the wonderful MMA Club together and had a funny night with loads of good music. On Crossing will be as follow up to my Album „Untrod“ a Single EP with Remixes of two Albumtracks from Answer Code Request and Marcel Fengler. That was on my wishlist for a very long time and I am superhappy that both directly said „Yes“ after I gave them my Album. This Untrod Remixes EP will be released due to a little delay on 29th May 2019.

And in October I am part of a very special project together with friends and wonderful artists. Still at the moment I cannot say more but it will be very different. So keep our eyes and ears open more infos about soon.

At the end I would like to say thank you for having this interesting conversation with me, the continous support of my beloved label and I hope that you will enjoy the mix I did for you.

Thank you!


AVION’s “Untrod (Remixes)” on Crossing
AVION’s album “Untrod” on Crossing
AVION’s “Dispersion EP” on IMF
compilation “IMF10” w/ AVION track on IMF
“Crossing 011” by Milton Bradley presents Doomsday Device
“Crossing 10” by Thomas Hessler / AVION
“Crossing 009” by The Automatic Message


Exclusive Mix:


Tracklist of Exclusive Mix:
01. Roger 23 – Cultural Negotiation
02. Rodhad & Alex.Do – 160602
03. DJ Deep – Mandrum Dub
04. Marcelus – Multiply (Len Faki Deepspace Mix)
05. SLV – First Day In The City (Stanislav Tolkachev Remix)
06. Border One – Insight
07. Inigo Kennedy – 2C3D2
08. Shifted – Pyx
09. Simo Lorenz – Blue Hour
10. Martyn – Recon
11. Ryan Elliott – Grafton Road
12. Soramimi – The Lightworker
13. Joton – Different Faces
14. Kon Janson – CUES005B
15. SSTROM – Drenched 11
16. Luke Slater – Love (Marcel Dettmann’s Black Gloves Remix)
17. Pittsburgh Track Authority – Haywire
18. Slick Master Rick – Can’t Wait (Factory Mix 1987)
19. P. Lopez & Octavio – Otono
20. Nuel – Silhouette
21. Plants Army Revolver – Borneo Memories
22. AVION feat. Emika – Streetlights (Marcel Fengler Remix)
23. Damcase – PI03.4
24. Specific Objects – Temptation Of Novelty
25. Kodem – Vault Lines (Truncate Remix)
26. Luke Slater – Love (Burial Mix)


Outlined AM