Hey Cuthead. After you started our podcast series it’s about time that you do a new one. What can you tell us about your mix. It’s pretty diverse, isn’t it?

Yeah, this time almost every genre is involved. From Spirituals via Hip-Hop to House and Disco. But that’s how I’d characterize a good mix and that’s what I prefer when I listen to podcasts.

We’ll celebrate five years of Uncanny Valley this summer. If you look back what do you think how your production techniques and musical preferences have evolved during that time?

Not so much, I mean the techniques are somehow limited and you know how to handle the effects and machines after doing it for a while. It’s more the musical taste that alters over the years and in my case the selection of samples and sounds. You also get more picky in details which makes the whole process slower You have to stay focussed if you don’t want to get stuck in these little things.

Is there a certain track from your UV-records or maybe from another label artist that has a special place in your heart?

I really like the new Credit 00 record starting with the artwork. And the name “Party Beats” shows a good sense of humour and not taking everything too serious (in a good way). His productions are always raw and casual.

You played at numerous club nights and festivals. Which DJ gigs or live sets have been especially memorable to you and why?

There were a lot of really good gigs lately, but only once in a while it’s really magic. You can’t predict when this things will happen, but like one time in a year there is a special vibe with the crowd and you experience something like a “flow” state for the whole set.

There’s a record with tracks by Max Graef, S3A, Moony Me and yourself coming out in July on Uncanny Valley. How did that come about and what’s the story behind it?

The idea was to make a record with some of my favourite producers which I already met and worked with. I already released an EP on S3As label and track on Box Aus Holz, so the “Give’n’Take”-concept keeps this connection alive. The plan is that there is one UV-artist behind every “Give’n’Take”-record who presents the EP. In my case it’s a selection of good hip hoppy, sample based house music. It also shows a lot of my musical influences.

You’ve been a father for more than a year now. Does this fact has an influence on your music apart from having less time?

Yes, there isn’t much time to hang around anymore. You have to be really focussed and find a schedule for the daily things to do. It’s also not that easy to go out on the weekends because you will be awake at 7 again. But in the end you can’t be productive the whole day anyway and you need your activities besides music to find new inspiration. I recently started sessions on evenings in the week with a good friend of mine. So we have like a bit of structure for making music every week.

Alright. So let’s go straight to our standards: Is there a record that triggered your interest in electronic music and brought you to deejaying/producing?

The first record I have ever bought was Cypress Hill’s “Temples Of Boom” and I still like the production and dark mood on this one, especially Boom Biddy Bye Bye. It was really mindblowing back in 95 when I first listen to these dark Hip Hop tunes. You may still hear the DJ Muggs influence on some of my tracks.

What do your parents think about what you do?

They always encouraged me to finish my studies and did not take it too seriously. Even though I spent most of the time with making music since 2001, it was more like a child’s play for them. Later, when I had the first bookings from abroad they realised that my music is known even on other continents. They changed their thinking and were really proud. I think they would still prefer that I would have a well paid job in a big company, because they were raised like this and care about my financial safety. But on the other hand they think it’s cool that I do my own thing and work self-employed.

What are your projects for the next time?

I’m working on a Hip Hop / House-EP again with my friend Mathieu. We already got a lot of promising material. It will be a bit wilder and rougher than “Everlasting Sunday” but I already love the new songs. Stay tuned.

Finally, what’s the last record before the lights are switched on?

Wendy Rene – After Laughter (Comes Tears). That’s always good.

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