I grew up in East Germany, and we were short on technology. So my father was really proud to be the owner of a turntable.
‘Dark Side of the Moon’ was one of my father’s favorite records, which I obviously didn’t understand when I was young. To be honest, I don’t really have too many memories of hearing it, but I definitely have memories of the cover.
When I was 16, I really discovered good stuff like Detroit techno or gabba from Holland.
I don’t really know how it feels for an American to go to Mexico, but if you come from Germany, Mexico is a really exotic place. It has this laid back vibe, at least in the countryside, and things don’t seem to be as over-civilized as they are here in Europe.
At some point, I went to the studio and nothing happened. It can be really depressing to sit there and wait for the inspiration that doesn’t come. I had to start recording rough song ideas before going to the studio. I did that at home whenever I had a good idea.
In terms of the organic feel and the love for noises, I definitely feel more connected to Four Tet and Fennesz, as any dance floor artist. I do like some dancey stuff like Martyn when I DJ, but I draw my inspiration from other things.
If you want to make people dance, you need to follow certain rules. Build-ups and breaks and stuff. I like to be free. On top of it all, I never really felt that I’m good at making fat-sounding dance tracks.