Munich has a new label for Techno & electronic (dance) music: roots.audio. 

Formed by Kareem El Morr, Vassili aka VSSL and Tom aka Reduks, three passionate profiles featuring residents and staff of Munich’s Rote Sonne & Blitz Club, it’s all about electronic (dance) music.

roots.audio’s inaugural release, Ground Floor EP, saw the light on Friday 16th of May and we took the opportunity for a conversation with the trio to find out more about the label, it’s mission, it’s inspiration and future – and more than a few insights and perspectives on Munich’s scene right now. Read the transcript of our live conversation below.

Make sure to follow them on the internet and socials but above all: tune in while you dig into the grooves.

Soundcloud / Bandcamp / Instagram

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Blitz
Let’s start from the very beginning—etymologically speaking: why roots.audio?

Tom
Who wants to go?

Vassili
So, “roots” – and “audio,” of course – mainly because of the connection, I’d say, with the scene. You could say: we come from music and club culture, we fell in love with it, and now we’re trying, in quotation marks, to carry that forward—to pass on a bit of what we once received on the dancefloor. So: this deep-rooted connection.

Karim
Yeah, and the platform is essentially the root from which the music springs. This is our foundation now. And growth begins with roots, more or less—the label is our root, our platform from which we—or music in general—can grow.

Blitz
That’s very metaphorical.

Karim
Yes, very metaphorical. But that’s how it is with names: you toss around ideas forever and eventually find something you like—and then you often start to interpret your own meaning into it. It definitely took a long time to settle on the name—three months, in fact. And then something clicks, and you’ve got it—and it only begins to make sense after that. It wasn’t like: “Hey, here’s the name and everything’s clear.” It had to develop, and once we embraced the name, we realized: “Okay, this actually makes total sense.” And that’s how it was with roots.

Blitz
What can we take from that, upon reflection? Does everything start with sound, which you then work on? Or do the roots represent an idea at the core of everything?

The naturalistic metaphor is quite compelling in the context of (mostly) functional dance music. But how do you see the functionality of dance music? Where—let’s say—is the music headed?

Karim
We actually founded the label to free ourselves from limitations and restrictions. But over the past year and a half or so, a direction and a vision have started to emerge. We want to release a broad range of electronic music—not just super-functional techno, but a broader spectrum. It doesn’t all have to be tailored for the dancefloor.

Tom
There is definitely a tendency toward dancefloor music, but we’re not locking ourselves into that. This is our own imprint. We don’t have to send out demos or wait for someone else to decide whether to release something. Removing those limitations—having our own platform where we can release anything we think is cool or meaningful—that’s the idea. It doesn’t even have to be dance music. It’s simply our platform for music in general.

Vassili
Especially with people who share our values and vision—so it becomes this gathering of music lovers who connect, who share the same passion, and who just want to make music and enjoy it. That’s what Tom meant with removing limitations.

Karim
It’s not about a fixed musical vision. The common thread is that we share similar expectations and standards for electronic music. That organically creates a direction we all feel comfortable with. But we didn’t want to restrict ourselves—if someone wants to do ambient music, we’re absolutely open to releasing it. This is a platform where we can express ourselves fully.

Blitz
So it’s DIY in the best sense: we have a personal connection, we connect with people who share our ethos. An open understanding of electronic (dance) music—where it goes will reveal itself?

Tom
Exactly.

Blitz
Alright! Let’s talk about the people behind roots.audio: What brings you three together? What is the “core ethos” that Vassili mentioned? You’ve been working on this idea for a while. I gathered it began about a year and a half ago—now things are starting to bear fruit. Tell me a bit about how it all came together—and what’s next?

Vassili
I think we all met through partying, right? I still remember meeting Tom—and Karim too. It all started on the dancefloor, as things often do.
What connects the three of us the most is our shared passion—and the sense that we see the scene and its subcultures through the same lens. We share the same opinions and vision.

At some point, we created a WhatsApp group—along with a few others—and said: “Hey, let’s exchange ideas and tracks, give each other feedback.” And I think that’s how it slowly developed into a label. We decided: “Let’s give this a proper go and really build something.”

Karim
Yeah.

Tom
It feels like the first evening was that resident meeting at Rote Sonne.

Karim
I always thought it would be a good idea to build a label around club residents. I brought it up back then: “Hey, why don’t we start a club label?”
But in hindsight, tying a label to a club wasn’t the best idea. Tom and Vassili were still interested, though—and that got the ball rolling.

Tom
We were definitely on board right away!

Karim
The idea grew slowly. First the WhatsApp group, which turned into regular meetings and calls. Over time, it took shape. We never forced it—it all happened very organically, without pressure.
Tom even had his first EP ready before we finalised the label idea. He was the one who really had ants in his pants. But we still took our time and developed everything with care—it’s been a beautiful and steady process.

Vassili
No pressure. Just do it when you have the time and passion—and above all, enjoy it. That’s the highest priority for all of us: to love what we do. We’re not focused on making money. It’s about contributing something to the culture—for the music lovers out there.

Karim
And also to fill a gap in Munich. Techno labels that are built on the scene’s foundations are pretty rare here.

Blitz
We’re intrigued by the Munich angle—especially since this interview is for the Blitz Magazine. It’s interesting that roots.audio originated from a resident meeting at Rote Sonne.
What’s your stance on Munich—and where do you see yourselves within it? What about other local imprints?

Who’s out there? Who do you want to shout out? Who inspired you? Or: why does Munich need a new techno label?

Tom
Generally speaking, I think we all agree: Ilian Tape must be mentioned.

Vassili
Definitely, yeah.

Karim
It’s the first thing that comes to mind when you think of Munich techno labels.

Tom
There’s also Further:Sessions—not exactly Munich, but still close. But overall, there isn’t much coming out of here. Loads of event series, but when it comes to production output, there’s not enough coming from Munich.

Vassili
There are many young collectives throwing parties, but without labels attached to them.

Karim
Not yet. But I feel like something’s starting to take shape. There’s definitely more happening now in terms of producers than there was five or ten years ago.

Tom
A strong young generation is definitely coming up. I do a kind of primary research on the dancefloor every week—chatting with people. (laughs)

Karim
“Dancefloor research,” you call it? (laughs)

Blitz
Music ethnologists would call it ethnographic fieldwork.

Tom
Every few weeks, I’m in one of those moments where I think: “Wow.”
People I saw listening to completely different stuff three years ago have really matured. They’re now into more abstract, intelligent music. That kind of progress is amazing.

Or I meet someone new and think: “Wow, you’ve really got taste—you’re 19 and into genuinely good music.”
That makes me really hopeful.

Blitz
That’s fascinating. Karim, Vassili—how has the scene and people’s attitude toward it changed over the years? Are younger people more likely to form collectives and throw parties rather than start labels? Has something shifted?

What’s interesting in your case is that you met on the dancefloor, but you chose not to take the dancefloor route—no parties, but a label instead. How do you see this in terms of generational change and perhaps a new sociocultural ethos?

Karim
I think it also comes down to the fact that all three of us know how damn hard it is to put on successful events in Munich. Speaking for myself: I’m just not good at that.

I used to organise events—but without my business partner at the time, who took care of all the logistical stuff, it would’ve been a disaster. I’m just not built for that—I want to create music. And doing that together is almost as fulfilling as throwing a great party.

When you’re in the studio and build a track together in a single day—it’s such a rewarding experience. So I don’t want to say that a label is more serious than an event collective, but it does play a role. There’s a more—let’s say—mature way of forming a group when it’s based on a label rather than parties.

Tom
I also think it’s a more long-lasting structure. When you release music through a label, it’s out there—it can continue to grow in its own way. Every party has a curfew, you know? A release doesn’t expire.

Karim
I can totally see myself still running a label at 45 or 50—but not throwing parties at that age.

Blitz
So, in a way: After the Sturm und Drang phase, people start a label?

Karim
Maybe. Or maybe even right in the middle of the Sturm und Drang—just to create something lasting. A label can truly be a lifelong project.

We’re only a few weeks old now—but it’d be beautiful to still be doing this in 20 years.

Blitz
Looking at the history of labels in Munich—was there a driving inspiration for you? A defining institution that made you want to start something yourselves? Or was the impulse more about filling a gap—or even the gap?

Vassili
Definitely the latter, I’d say. There have always been cool labels based in Munich, but really, it’s mostly just Ilian Tape. So for me personally, yes—it was about contributing something and enriching the scene a little.

Tom
There was a very small influence—but a very big need to expand what’s coming out of Munich. Sure, Ilian Tape does great things, but that alone isn’t enough.

Karim
And Ilian Tape has carved out a specific niche—but there’s still so much space for other shades of techno.

Vassili
You can’t forget: We know so many talented producers in and around Munich who make great music, but haven’t had visibility with their releases yet. And that’s another part of what drives us: to push these people, because we see what they’re doing and think, “Hey, this music is amazing.”

I’ve got two or three close friends I also do events with—they’re making brilliant music. As a community in Munich, we just want to support each other and stick together. That’s always been really important to me.

Karim
It’s about highlighting the things we ourselves value. “Hey, this is what we stand for—and there are plenty of others around us doing the same.” So we’re putting our name to that now. “Look—this is part of the scene too.”

I always wished there were more platforms in Munich that support local artists. I mean, Ilian Tape did that. Richie from Rote Sonne also did it with his RFR project—the first, I don’t know, 20 releases were only with Munich-based or at least Bavarian artists. I thought that was cool—because you didn’t need to look to the wider world.

There’s so much talent right on your doorstep. And as an artist, it’s just so nice to be seen. When a label from your own city comes to you and says: “Hey, I don’t care if you have 500 followers—your music is fire, and we want to release it,” that’s just incredibly motivating. That’s kind of the spirit behind it.

Blitz
So what’s next—what releases are coming up, and in what format?

Tom
We’re all involved in the first release. After that, three solo EPs—one from each of us. I’ll go first, then Karim, then another project – an LP by Vergil – and then Vassili’s EP.

Karim
Okay. And after that? Shall we talk more? I’m checking with the other two… Yeah, let’s go.

Vassili
We’ve got a few things in the pipeline.

Karim
It’s basically confirmed, right?

Vassili
Yeah, definitely.

Karim
Right. The fourth record, an LP, will be from Vergil.

He’s a good friend of Vassili and Tom—I only know him vaguely. I once heard him play a warm-up—and I was honestly blown away. It totally matched my idea of what a good warm-up should be. I approached him afterwards and said: “Hey, that was a really good warm-up—you held back and left space for the rest of the night.” He was super happy, genuinely grateful, and said: “Hey, you got it—that’s exactly what I was aiming for.”

Then the guys talked with him more, and he already sent us an LP—we’re really excited to release it. So that’ll be the fourth record. What comes after that is still open.

Blitz
So now would be a good time to send in demos?

Karim
Exactly. (laughs)

Blitz
In what format are the releases coming out?

Karim
In our first year, everything will be digital only. We’re not ruling out vinyl for the future—but for now, we want to build some credibility, show people what our music is about, and what we stand for. Then we’ll see. We just don’t want the first records to gather dust on the shelves.

Vassili
Once we know how everything is being received and so on.

Blitz
That leads us to another question: How does a young Munich-based label that doesn’t just want to throw parties navigate the internet? How do you approach social media—and how does that influence your visual identity and your social values?

These days, it feels as if you can’t avoid the question: How do you handle social media—and how do you approach distribution?

Vassili
We’ve definitely got a clear stance on that. We have a few basic principles when it comes to social media strategies, and we’re all pretty aligned on them. For example, we don’t want to make TikTok content. Of course we need to use social media to generate some output and visibility—but we want to do it in a natural way, where the music or whatever we post speaks for itself. Not like how it is with most people these days, where they throw everything at social media and focus all their energy there just to reach as many people as possible.

For us, it’s important that the visual aspect also aligns with our vision—and that we stay true to ourselves by letting the music and the art behind it speak for themselves.

Blitz
What does that look like visually?

Vassili
We work a lot with natural imagery—photos from nature, for example. The first three reels featured images of plants that we distorted and abstracted visually. But you could still tell they were plant-based. It worked really well visually—and we found it aesthetically cohesive.

Blitz
So we’re back to the nature metaphor from the beginning: Where are the roots? Does that carry into your sound design—or other aspects? Do you have a production policy, like “hardware only”?

Karim
Not at all. It’s more about the sound itself. I’ve heard more of our music than what’s been released so far—and it all sounds very organic. “Organic” is the best word for it. And I think that’s reflected in the artwork too.

It’s not super bold or flashy—there are noise textures, a lot of life in it. So, for me, there is definitely a connection between artwork and sound—but not in terms of “hardware only” or “software only.”

Some tracks were created entirely digitally, others heavily with hardware. We’re not dogmatic about it.

One more thing about our social media strategy: All three of us are rather reserved when it comes to social media. We don’t like being front and centre—so we’re trying to build a strategy where the music is the focus. At the same time, we want to be visually appealing on Instagram. We’ve come up with a small concept—but you’ll see it when the time comes.

Blitz
We’ve got about a minute and a half left. Last question: If you had to describe roots.audio in three words, what would they be?

Karim
Oof.

Tom
Three buzzwords?

Vassili
Each three—or three total?

Blitz
Each of you, three words.

Vassili
Okay. I’d say: music, community, passion. That’s what roots reflects to me—all three elements overlap.
I’m passionate about music. I believe music should be celebrated together. Everyone should know what matters on the dancefloor, and appreciate how lucky we are to be able to live out this music, wherever and whenever we want.

So yeah: music, community, and passion.

Karim
For me, it’s: stripped down to its essence. That’s three words, right?

Vassili
Four.

Blitz
Alright, Tom, go.

Tom
Organic, minimal, no boundaries. Or maybe: free. What’s a cool way to say that?

Gino aka bw is an Argentinian-born, Munich-based DJ and producer who also runs his own self-titled label, alongside the Balls Baile party series and imprint, currently on hiatus. The local artist’s forte has always been sleek and effective Techno marked by stylish understatement.

Now, after a year-long break, he returns with his debut album. Bleeps Don’t Cry offers an immersive and refreshingly cool-spin on dub-laced Techno and Ambient, and bw is set to play our upcoming Cruise on Saturday, 14 June 2025, alongside Ogazón and Don Williams.

We had a few questions for bw about the album, its origins, his label’s past, present and future — and, of course, what he’s planning for his upcoming Cruise debut.

Give the album a spin while you dive into the conversation — and don’t forget to follow bw online to stay up to date on future plans, gigs and releases.

Find out more about our upcoming Cruise on SAT 14/07: CRUISEINFOS

Instagram / Soundcloud / Balls Baille / bw [imprint]

Hi Gino! Let’s start with the essentials: What does your artist name “bw” stand for?
Hi! Thanks for having me, I love talking about music. As for the name, the answer is hidden in one of the track titles on the album. I can’t say more than that, because the story behind it is pretty boring haha.

Your debut album Bleeps Don’t Cry dropped in late May 2025. On Instagram, you mentioned wanting to explore how your favourite sounds in Techno—the bleeps—might “cry,” after immersing yourself in guitar and trumpet solos from Frank Zappa to Miles Davis.
Is the album title a nod to The Cure, considering the similarly eerie moods you explore? And is the answer really that bleeps don’t cry?

You’re the first one to catch the nod to The Cure, glad you asked. Boys Don’t Cry has always been a song I loved, and also a quiet, powerful critique of the macho world we still live in, wherever you are. Just like men are told not to cry, it often feels like techno isn’t supposed to be expressive or show any vulnerability either. It’s meant to be dark, strong, emotionless, or just a soundtrack for partying. I don’t have anything against that, especially the partying and having fun hah but I do think there’s more to it. 

So yes, the answer is that bleeps do cry. I made them cry. They made me cry. But they also lift me up, make me dance, and bring me joy.

What were your key influences while writing the album? You’ve spoken about emotional turmoil being a major factor that led you to step back from performing. What else shaped the process?
The emotional state I was in was the key influence. This album was really just a way for all that pent-up emotion to come out, a form of catharsis. But at the same time, everything I’ve absorbed over the years—from music to movies to books—started to blend together in a way I hadn’t expected. You can hear it in the textures and moods of the album, the way it ebbs and flows, maybe even in the storytelling. It’s like all those little pieces of me came together at once to create this.

The album’s two sides are notably distinct: Side A moves through haunting ambient soundscapes, while Side B dives into deep, dubby Techno. Why are all the track titles on Side A in Spanish, and those on Side B in English? What’s the story behind that contrast?
It came almost instinctively, but now that you ask, I think it’s because the A Side feels like a deeper, more intimate space, like speaking to yourself in your native tongue. It’s private. The B Side, though, feels like reaching out, speaking in a language you’ve learned, but one that’s not truly yours. After so many years of living in places where I had to adapt to other languages, I just reached a point where I was tired and just wanted to speak and hear Spanish — such a beautiful and rich language. To reconnect with it, that flows from me without thinking, where I don’t have to force the words.

The closing track, “Not”, stands out with its weighty title. Why did you choose that word to close the record?

Closing the album with a track that’s so simple (just four layers) but emotionally intense needed a title that carried weight. And this album, being a statement of everything I am and have lived through, it also felt important to acknowledge what I’m not, what I don’t want, what I refuse to become, no matter the status quo out there. “I am not” was the original title.
Later, I shortened it to “Not”, which in German means both urgency and emotional distress—like being in need, in pain, or out of options. In that sense, the album was just that: a personal emergency.

For the gear heads among us: Can you walk us through your production process—from early ideas and techniques to final track selection?
I like to work very fast, it helps me let things out without my mind stepping in to filter or judge. It’s the best way I’ve found to bypass the mind in those initial phases. If nothing comes out in 20, 30 minutes or an hour, I just stop and do something else. Later, I come back to it. If I like that first sketch (usually just a short loop and a couple of channels), I save it. Then I let it sit. I let it rest and mature for days or even weeks before touching it again.
Then I start reviewing and selecting the sketches I like the most, transforming them into full tracks and seeing how they hold up. If they still work, I keep developing them—but never on consecutive days. I always let them sit. That pause helps me hear them with fresh ears.
When I go back to it, if it still moves me, I keep developing it. That pause is important for me; it protects me from the momentum that can trick you into thinking something’s good just because it’s new. Years ago, I’d spend hours looping a fresh sketch, getting hypnotized. That’s dangerous. It lies to you. And it fatigues your ears as well.
I always work on dozens of sketches at once. For the album, I must’ve made over 120. To keep track of everything, I use a little notebook where I write down each project. I like to give them codes—combinations of letters and numbers—instead of names. It keeps things abstract at first, and also a bit playful.

You’ve previously run the Balls Baile imprint. Why did you decide to launch a new, self-titled label for your debut album instead of releasing it on Balls Baile? And what’s the current status of that earlier project?

This is actually my ninth release on my own imprint. That’s how I got started more than four years ago, going at my own pace. I’ve always liked doing things in a DIY way—maybe it’s also a bit of the Argentine mindset, figuring things out for yourself without relying too much on others or rules. When I plan to release something, the first option is always doing it on my own Bandcamp. If it happens that a label reaches out, then I’ll consider releasing it with them.

As for Balls Baile, the project is on pause. About a year and a half ago, when I had to step back from everything (job, gigs, music), I put Balls Baile on hold too. Right now, I’m focused on my own music, on rebuilding things from a more personal place. Balls Baile might come back someday, but for now, I’m taking it one step at a time.
That said, I’m really proud of what we did with it. We only released singles, almost like artist calling cards. Each one had a unique vibe, lots of personality, and zero pressure to fit into a trend. It was loose, free-spirited—just like the parties we threw. They felt more like a house party amongst friends than a club night.

Complete the sentence: Munich wouldn’t be the same without…
…

the Isar, the forest, the parks.

And: Munich would be better with

…
…more sun!

Let’s talk about the new label: Do you have more releases or projects planned for it in the near future?

During the second half of the album process, especially toward the end, I started setting aside ideas that I liked but that didn’t really fit the album’s concept. I’ve been slowly working on those since then, and they might become future releases. Whether they’ll come out on my own label or somewhere else, I honestly don’t know yet. Right now, I just want to keep making music without any particular goal. That’s how it works for me.

Your upcoming set at Cruise will be your third DJ appearance at Blitz.
 What’s the most curious thing that’s happened to you at the club so far?
 And what can we expect from your set this time around?
I really love the first slot, warming things up. Starting to play when the dancefloor is still empty and slowly seeing people come out and start dancing is the best part. I like to build the energy gradually, creating an inviting vibe that makes everyone want to approach the dancefloor, especially at the beginning. The moment when you lift your head and realize the floor has suddenly filled up always gives me a good boost.
Now that I’m presenting the album, the first slot feels perfect. I can’t wait to hear how those A-side tracks sound on the Void!

Last but not least—our classic closing question: What piece of music—an album, live show, mix, or otherwise—has moved you recently, beyond the realm of self-promotion or networking?
Although not electronic, I keep coming back to C. Tangana’s Tiny Desk.

Richard Akingbehin – the tasteful selector known for his engrossing, soothing soundscapes and the driving force behind Berlin’s Refuge Worldwide and Kynant Records – made his Blitz debut in late March 2025, playing alongside DVS1 and Ogazón. It was a night shaped by deep cuts, subtle shifts and tactile Techno.

We’re pleased to share a recording of the first half of his opening set – and took the chance to ask Richard a few questions about the night, too.

Listen to the recording here – and don’t forget to follow Richard to stay updated on his upcoming sets and projects:

Instagram / Soundcloud

Kynant Records / Refuge Radio

Tell us a bit about your experience at Blitz, where the mix was recorded – how did it feel to kick off the night?

I had been really looking forward to coming to Blitz for the first time after hearing so many good things, and also looking forward to warming up for two of my favourite DJs, Ogazón and DVS1.

We had a nice dinner and tour of the club so I felt relaxed. I don’t get so many chances to do opening sets anymore so I enjoyed playing some ambient and dub to start the night.

How did you feel about the mix afterwards – what were your first thoughts once the set was done?

I was happy! I kept it pretty deep for the whole 3.5 hours to leave Natalie plenty of room to dial up the party afterwards.

And how did it feel listening back to the recording? Was there anything you didn’t remember playing, or moments that surprised you?

I wanted to bring vinyl for this gig, which I don’t always do, so I got the opportunity to draw for a few records that I haven’t played in a while, stuff from Vester Koza and Levon Vincent for example. You can hear me working a bit harder on some transitions, as opposed to the pretty flawless-sounding CDJ mixing that is usual now. I quite enjoy hearing those moments of things sliding in and out of time a little bit. There is one nasty skip in this recording too, though, I don’t enjoy that one!

Do you recall any thoughts or instincts you had during the set that shaped your decisions behind the decks?

Not really, but I remember taking a few moments during the opening hours to step out into the middle of the dance floor and hear the music the way it’s intended for the floor.

Tech House – often misunderstood and unfairly written off as commercial – takes centre stage in the upcoming Blitzcast by our good friend Sylwa.
Drawing from its original, understated roots, Sylwa offers a soulful and personal interpretation of the genre – a sound shaped by subtlety, groove and depth.

Blitzcast 028 comes courtesy of Sylwa – here’s what he has to share about the mix.

This mix features tracks released exclusively between 1996 and 2005, with a strong leaning toward the sound pioneered by early UK tech house figures like Terry Francis, Eddie Richards, and the circle surrounding London’s Fabric club and Swag Records.
I aimed to create an obscure, moody atmosphere with long blends, moving through stripped-back, loop-heavy cuts, dubby stabs, and acid lines—gradually brightening into more melody-driven tracks toward the end. You’ll hear some crackles and slight mixing imperfections; I guess it’s the unavoidable nature of mixing with vinyl.“

Dig into Blitzcast 028 right here:

And don’t forget to follow him on the web:

Instagram / Soundcloud

We also had time for a swift conversation with Sylwa about his background and musical approach.

Tell us more about how you got into music and DJing – and what sparks your interest in vintage grooves & vinyl?

At first, digging into old-school records was a way to educate myself — to understand how different subgenres evolved and who the key players were. But I quickly got hooked on the sound of the late ’90s and early 2000s. There’s something about the raw sound design, the warmth of analog production, the tribal percussive energy, and the sense of freedom and experimentation that many tracks from that era reflect.
Since I grew up on a diet of old-school US hip hop, I love the aesthetic of beats that sample recordings of funk, soul, and jazz. For example, Peace Division – Beatz in Peacez 3 in my mix uses a bassline sampled from a bass guitar in Ingram – Mi Sabrina Tequana (1977), a funk-jazz track.
I also find it fascinating how, while digging, some records that were hits back then haven’t aged well, while others — maybe overlooked at the time — are now finding new success. And then there are those simply timeless tracks.
I found it exciting to limit myself in my DJ sets and only play music from that era — a kind of experiment: what would a Gen Z ear make of a mix that could have soundtracked a night out two decades ago? (Also, it’s helped me not to lose myself in the sea of great music releases and to make more coherent mixes.)
But I’m not the only one hunting for the gems, and second-hand record prices are skyrocketing. Many of these tracks are recordings of impulsive studio sessions and aren’t always the easiest to mix — especially compared to today’s DJ-friendly releases. With digital decks, looping and beat-matching make mixing nearly flawless, and audiences have grown used to ultra-clean sets, I believe. But this pushes me to refine my technique and find creative solutions for blends.

You try to approach the limitation of vinyl in a creative way: aside from the technical aspect — are there any other boundaries you’ve noticed, and how do you try to deal with them?

Today’s lineups are making efforts to be more diverse, and I believe DJs’ track selections should reflect that as well, by including music from more diverse producers.
When restricting yourself to turn-of-the-millennium-era releases, that becomes really hard: way less than 1% were made by women, and many talented producers from marginalized backgrounds likely didn’t receive the visibility or recognition they deserved in a scene that often overlooked artists outside the dominant cultural narrative.
The financial barrier to producing music was significantly higher back then, too — hardware, studio access, and distribution were far less accessible than they are today, which further limited who got to participate and be heard.
I’m glad I was able to include at least one track by a woman, K. Lakizz, alongside some POC artists like Silverlining, DKMA, Colin Dale, and vocals by Temp O’Neil. I hope to uncover more as I continue digging.

Let’s get hands-on for our last question: what music have you been running on repeat lately?

Barker – Stochastic Drift
Andrea – Living Room
Steffi x Virginia – Patterns of Vibration
Kareem El Morr, Reduks, VSSL – Ground Floor EP
Chris Doria – MP07
Data Wave – Landscapes

The Ghosttown crew – Kelburrt, Rompa and Brootworth – have been curating thrilling lineups on our PLUS floor for years, and throwing even more parties at countless other venues. Now, the gang is turning 8!

What began as a group of friends throwing raves at off-locations to fill a void for the music they love has grown into a full-fledged label, monthly radio shows, and countless nights spent dancing to rumbling basslines. What began with 140 BPM bass-driven music has flourished over the years, branching out into many grooving directions. 

On Friday, 23 May, they celebrate their 8th birthday on our BLITZ floor with a stellar lineup: Modeselektor, rRoxymore, Stenny, and Ghosttown’s very own Rompa behind the decks. 

Find out more about the event here and get your tickets here!

We sat down with the trio to chat about their history, inspirations, and what the future might hold. 

Before we dig in, we suggest tuning into our of their latest radio shows or giving one of their releases a spin, such as their brand new Various Artists release with a wide of range of thrilling contributions:

And as always, make sure to follow Ghosttown on the web to stay up to date with all things grooving.

Instagram / Soundcloud:

What’s planned for the 8-Year anniversary party at Blitz? Or maybe even more interesting: why exactly this lineup? 

Modeselektor has had quite an impact on some of our musical upbringing in the early days. So we thought it would be an ideal match when we had the chance to host them at our anniversary, reflecting on our roots and bridging over into the present. Stenny‘s style is a huge source of inspiration when it comes to contemporary club sound, and Rroxymore completes the concept perfectly, being a long-time institution in timeless experimental dance music. 

But let’s rewind a bit – how did it all start? What were those first nights like? 

The origins of Ghosttown probably lie between 2013 and 2015, when we all went to Outlook Festival for a couple of years in a row, being exposed to certain vibes and sounds that were heavily underrepresented in Germany. At the same time, Grime and Dubstep really had a flourishing scene in the UK. After some time, we just thought: Hey, we can do that too. So we just set up some raves in various off-locations, and it just went off, as the people were exposed to something quite new at that time. The vibes were so wholesome as they also became a get-together of all our different communities and friends, really forging some long-lasting connections. 

When we took things to the next level, giving it all a name and collaborating with venues, things developed their own dynamic quite rapidly. We started a show with Radio80000 and invited international guests on a regular basis. As most of them came from abroad, we quickly realised how important and inspiring it is to really nourish dialogue, exchange and vice versa inspiration. Same also goes for releasing music: we did a first publication long before our label had the structure it has now, as just a way of publishing our own productions and entering into contact with other musicians. 

…and where do you want it to go? 

The label has grown a lot since then and demands a kind of work we all really enjoy. Putting the community aspect into it and connecting different styles and artists through it really feels to all of us like a very creative contribution to the scene that means so much to us. We want it to be a space for artistic exchange and inspiration on a global scale with a few dedicated nights in different cities showcasing these approaches, inspiring, connecting and bringing open-hearted people and structures together. 

How do you split the work between you all? 

At the beginning we all did everything, but we grew into the present state quite naturally, as each one of us three brings some individual skills to the table, which he also represents in his work or studies. Be it the graphical aspects, actually working in the music industry, or writing and communicating. We’re in constant contact with each other, optimising our workflow but also supporting when there might be less capacity at times. 

Were there any role models or inspirations when you started out, local or international? 

Well, we were all heavily influenced by the Grime & Dubstep world of the time, really drawn to the works of DMZ or Bandulu, already being boundary-pushing and unique in their own way. Locally, we were also influenced by legends like Sustain! (fka. DnB issue) or Basswerkstatt, being almost the only ones representing non-commercial UK-Sounds in Munich. They also were super welcoming and supportive when we started our thing, showing how a scene definitely thrives through mutual interest and exchange. Shouts <3 

Besides hosting parties and doing radio shows, you’ve released seven records so far. How does the label side differ from your events and DJ shows? 

In the end, not that much tbh. We play and release music that we love. But in recent times, we have and will shift also more towards calmer and experimentally deconstructed things with the label, that might not always be suitable for a standard club environment. 

Is there anything people (still) haven’t understood about Ghosttown? And same goes for Blitz—what’s your favourite detail that often goes unnoticed? 

Sometimes we are not sure if the people actually realise how much we have changed over the years. Kicking things off as a group pushing mainly 140 bass music is far from where we are at now. Of course, that is the impact that sticks with people being around you from the beginning, but Ghosttown is so much more than the dark vibe we started with, and we want people to see how seriously we also appreciate a multitude of other quality styles. 

You’ve been curating lineups on our PLUS floor for a few years now. How has your approach changed over the years—both at Blitz and at other events? And maybe even in your own sets? 

We are all coming from the same foundation and background, but all of us developed a lot in their musical spectrum. Sometimes together, influencing each other, but also on individual journeys. We like to give each other a lot of space for that individuality, and this is represented also in our lineups and curations. As mentioned above, Ghosttown developed a lot in its musical aspects and aims to be a constantly developing sphere for high-quality music with the power of connecting open-hearted individuals and structures through sound. 

You’re spread between Munich, Berlin, and Vienna. How does the Ghosttown vibe translate across cities, how does the écriture adapt to different spaces? 

We feel like a lot of good things have happened through these developments of our personal lives. Living in different cities makes interactions with more collectives, labels and spaces crucial, which then only enriches the experiences we can reflect and share within our regular talks. It’s just more sources of inspiration and exchange that we can draw from. 

Where does the Ghosttown crew hang out when you’re not throwing parties? 

We’re actually hanging out quite a lot in our own chat group, as we all don’t live in the same cities anymore. But all of our lives turned out to be quite demanding, and we became quite chill when we can. Appreciating nature a lot, we sometimes go for hikes or travel. 

And finally – our classic last question: What track has been on repeat for you lately—outside of your own releases and circle? 

Zed – Ice (ft. Laylow) 

UK Gold – Instincts 

Salimata – Take You Dea

Blasha & Allatt, the incendiary duo behind Manchester’s infamous Meat Free series, are regular guests at Blitz with their signature strain of bold, groove-driven Techno. This Blitz Live recording captures their electrifying set from early March – the pair stepped in to cover an additional hour after our residents Glaskin had to cancel their live set due to illness. The result? A extended, three-hour powerhouse session, ready for you to relive in full.

Make sure to follow Blasha & Allatt on the web:

https://www.instagram.com/blashaallatt/ / https://soundcloud.com/blasha-allatt

The Blitz Live recording stems from early March. What do you recall about DJing that night?

We were actually asked to step in and play an extra hour after Glaskin had to cancel due to illness. It’s always a pleasure to play longer in that booth and genuinely one of the spots where we feel most at home. The vibes were spot on as always, with smiling faces on the dance floor – we both got into that flow state almost instantly!

How do you feel about the mix in retrospect? Did anything surprise you, or unfold differently than expected?
There were a few surprises in there, actually! Sometimes we listen back to a mix and we’re both trying to decipher who played a certain track or what’s layered on top of what – that’s the fun part.
Regardless, we are happy with the outcome. We are really picky when it comes to sharing live mixes, as this is a very raw and honest representation of you and what you stand for musically. For the last couple of years, we’ve gravitated more towards sharing live recordings, as these represent us better than any pre-planned mix ever could.

You’ve been playing regularly at Blitz since September 2022. What are some of your standout memories? Any particularly funny or curious stories you’d like to share?
YES! There’s a couple. The very first time we played Blitz, we were just about to take over from the DJ before us, when this very sassy Queen from the crowd with the biggest fan leaned in and shouted, > DO YOU THINK YOU HAVE WHAT IT TAKES TO DO THIS SHIT?! < Hahah! Slightly daunting, but about an hour into our set they came back to the booth to give a nod of approval.

Also, we can’t forget a little crew of Blitz regulars who baked us both some Blitz-themed biscuits with an iced logo and the sweetest little card. What a bunch!

Do you remember your very first gig at Blitz? How did it go?
Our first night at Blitz was September 2022. We got invited by SHDW to play an Another Mind showcase. As per the previous question, it went really well. It was love at first sight! Any club with turntables sunken into the booth gets a 10/10.

How has your approach to DJing at Blitz evolved over time?
Our evolution is more centred around how comfortable we feel playing the club. We’ve played 11 times as of March 2025, so naturally we have a homely connection with Blitz, the clubbers, and how we communicate during a set.

What’s your favourite thing to do in Munich – aside from playing at Blitz?
We managed to catch an afternoon watching surfers at the Eisbachwelle! However, other than that, not much else 😜

With two of you behind the decks – how do you divide the work as Blasha & Allatt? Who takes care of what, and how do you complement one another?
The work is split 50/50 – we’ve always mixed one track-for-one track, as it applies a certain pressure that we both respond well to. We don’t plan anything other than maybe the first track, and then we just roll with it. However, we do make sure to align on the sub-genres of techno when prepping at home.
In terms of how it plays out behind the booth, most of the time we use an Allen & Heath Xone 96, which allows us to listen independently from each other; when one of us is mixing, the other is cueing the upcoming track.
In the last few years, we’ve really enjoyed the creative freedom of mixing 3–4 decks using a mixture of vinyl and digital – this has kept it interesting for us. That being said, there are only a select few clubs where we feel fully comfortable doing this, Blitz being one of them.

What’s in store for Blasha & Allatt in the near future? Any special projects on the horizon you can hint at?
In keeping with the Blitz theme, we are doing our first Meat Free takeover of the club in summer – a very special moment for us!

And now for our classic closing question: what piece of music is currently on repeat – beyond the Blasha & Allatt universe and network?

Blasha: Dennis Quinn – Treat You Right  https://www.youtube.com/watch?v=4gIXzdd8bf

Allatt: Hidden Sequence & Milly James – All I Need  https://www.youtube.com/watch?v=f6sMOhaJGtM

Extra Hour is an extended party format by Munich record label Different Times and Munich based design-studio Naiv Studios that starts off and marries afterhour bliss & dayrave delights from the early morning hours right into the afternoon. At the core: a thrilling lineup featuring discerning touring artists & guests, spirited newcomers, and talented locals across both the BLITZ and PLUS floors.

Boasting unique lighting setups and unorthodox PLUS floor curations, Extra Hour is set to be a very special experience at Blitz! We’re happy to have the series at Blitz after a number of parties at various different locations in Munich. There’s a lot planned for Saturday the 5th of April and we took the chance to catch up with the Extra Hour team to find out how the event series developed and what they plan to do at Blitz.

Find out more about Extra Hour and it’s lineup here – and don’t forget to save a ticket in advance.

Presale / More Infos / Extra Hour on Instagram

What does Extra Hour stand for? When is “the” Extra Hour?

The story behind the name is actually quite fun: when Different Times and Naiv Studios decided to team up for the first time, we wanted to launch with something special. Our first event was scheduled for the night of the daylight saving time change—giving us an actual extra hour to extend the experience. That hour became symbolic for us. Extra Hour is not just about a longer party but about shifting the concept of time itself, creating an experience that transcends a regular club night. At Blitz, this becomes even more tangible, as we push the event further into the morning—allowing people who prefer to party in the early hours to join in. Our goal is to create a club experience that stretches the usual boundaries and plays with the perception of time.

How did the first collaboration and the formation of the Extra Hour team come about?

See the first answer! Extra Hour was born from the realization that we shared a vision—one that extended beyond just another club night. We wanted to create something immersive, something that allows people to experience time differently. Our first party, happening on the night of the time change, set the perfect foundation for what we wanted to build.
After many collaborations, it felt natural to take the next step. Extra Hour represents the fusion of Different Times and Naiv Studios—a symbiosis of music curation and set as well as stage design. The idea of blending these elements carefully is at the heart of what we do.

Why is Extra Hour such a long event?

We’re not in our early 20s anymore, and we’ve noticed how much people appreciate events that aren’t strictly limited to nighttime. There’s a lot of enthusiasm for parties that also happen during the day or in the morning, offering a different kind of energy.
The idea of a regular 11 PM to 5 AM event stressed us out. The closing is so close! No time to tell a story. It lacks the feeling of getting lost. Things develop more naturally in an over 10-hour event—no hurries, and interactions are more organic.
At the same time, we sometimes miss the possibility of longer events in Munich—ones that stretch beyond the usual club night. We take inspiration from Sundays at Berghain, where the mix of people who have been partying all night and those arriving fresh creates a unique atmosphere. That kind of energy, where different crowds merge and the vibe transforms, is something we want to bring into our own concept. We’ve also planned some special features to enhance this experience.

Extra Hour brings together night owls and those with a 9-to-5 schedule. How do you accommodate these different social contrasts in your programming and design?

That’s exactly what we aimed to address. We wanted to create an experience that isn’t dependent on whether someone works a 9-to-5 or has a more flexible schedule—everyone is welcome, and everyone has the opportunity to join in at a time that suits them.
To make this possible, we carefully design our lineup to create a natural flow—so that whenever someone arrives, they can be drawn into the experience seamlessly. The dynamics of the party are key to keeping people engaged.
However, we fully recommend coming early and appreciating the full experience. Beyond the music, we also focus on creating a space where people can interact.

Light and spatial design have always been integral to club culture. You’ve hosted events in venues like Zirka, which is a much more open space compared to the thoroughly conceptualized Blitz Club. What are the challenges and potentials of open spaces versus dedicated club venues like Blitz?

For us, every venue is a new challenge, and we always develop a custom concept tailored to the space. Fortunately, Naiv Studios brings a wealth of expertise in this area. It also helps that we’re deeply involved in the scene and have gathered a lot of personal experience along the way. Our focus is always on creating the best possible experience.
At Zirka, we leaned into a warehouse-style aesthetic, whereas Kunstlabor had a more uplifting, colorful vibe. But our approach is always “less is more”—we aim to create strong accents without overloading the space.
Another key element is not glorifying the DJ but integrating them into the party in a way that shifts the dynamic on the dancefloor. At the same time, we ensure there are areas where people can step away, have conversations, and lose track of time. Blitz, of course, is a different story—it’s an already well-established club with a strong identity. Our challenge here is to bring in a fresh perspective and introduce new energy.

What’s planned at Blitz Club—both musically and in terms of spatial design?

We have quite a few things planned! The PLUS Floor will be transformed into a listening space during the night, and the BLITZ floor will be set up with an enhanced lighting installation. In the morning, the entire atmosphere will shift into something different—warmer, with house-infused sounds to create a smooth transition into the day.
Musically, we’re structuring the night to build momentum. The BLITZ Floor will feature a thrilling lineup where each artist gets the chance to showcase their individual talent while still fitting into the bigger picture. We don’t want to single anyone out—it’s all about the overall journey. On the PLUS Floor, we’re creating a proper chill-out area with special seating arrangements—somewhere to take a breather and reset. And as the morning unfolds, the vibe will once again transform into something fresh.

Andy Warhol once said about Studio 54: > Time stops here, and space takes over. < How does this relate to Extra Hour?

That quote could pretty much be our slogan. We want to give people the feeling of stepping into a parallel world where different rules apply. Time doesn’t matter anymore—only the space and the moment they’re in. It’s going to be intense.

Could Extra Hour work as an open-air & festival concept, too?

Definitely! We’ve already had a few inquiries, and we can absolutely see it happening. As a standalone floor at a festival, our concept would work really well. Lighting plays a huge role in what we do, and outdoor events offer entirely new possibilities in that regard. We’re also very open to exploring unconventional locations—industrial areas, unexpected outdoor spots, you name it. If anyone has wild ideas, we’d love to hear them!

What does the future hold for Extra Hour?

We’re definitely planning to develop the concept further in Munich, but we’re also mindful of keeping it special. Our philosophy is > less is more <—we don’t want to overdo it, but rather focus on a few standout events that really make an impact. At the same time, we’re already looking at bringing Extra Hour to other cities. There’s a lot to come—stay tuned

And finally, our classic closing question: What track is currently on repeat for you?
That’s always a tough one! The best way to find out? Come to the party and hear it for yourself.

Würzburg’s Denny Voltage is steadily making a name for herself—be it as the driving force behind her own PRISM parties, the booking curator of Dornheim, or through her dynamic and eclectic mixes.

She returns to Blitz on Friday, 28 March 2025, for a jig in our Blitz Ballroom alongside Innervisions head Dixon and longtime friend Julietta. Blitzcast 027 offers a glimpse into her vibrant and effervescent musical style—a sassy and spirited mix brimming with percussive and tribal rhythms, spanning a broad spectrum of genres. We seized the opportunity to ask Denny a few questions about her work, hometown, musical approach, and the tracks currently on heavy rotation.

Get glimpse of Denny Voltage right here, catch her set on Friday and make sure to follow her on the web, too:

More Infos: Friday 28/03 Blitz w/ Denny Voltage, Dixon, Julietta.

Instagram / Soundcloud

Würzburg is your hometown—how would you describe the local scene? What’s the current status quo? Did you grow up there yourself?

I actually grew up in Stuttgart and moved to Würzburg for university, drawn by its charming castles and its endless summer vibes in the vineyards. With almost a third of the population under 30, the scene is constantly evolving, fueled by a strong student presence. Unlike bigger cities, it’s less niche and more community-driven, creating an open atmosphere—perfect for me as a DJ to test new sounds and experiment freely.

You’re the booker at Dornheim, where you also run your own queer event series, Prism. What’s happening at the club right now, and what drives your work?

Yes, that’s right. Together with my colleague Manuel (aka Radiothérapie), I curate the club’s bookings. Our approach is very grassroots—we balance supporting local crews, which are essential for smaller cities, with highlight bookings to bring fresh, relevant sounds to town. It’s not always easy, especially as the scene is constantly shifting, and what works today might not work tomorrow. Sometimes big festival acts don’t resonate as strongly as expected, while other bookings unexpectedly draw huge crowds. But that’s exactly what drives us—being in the flow, adapting, and shaping a space that evolves in real time.

But, not gonna lie: in times like these, when many clubs are closing, this can be a real challenge at times. Recently, we won an award from the Kultusstaatsministerium as one of Germany’s best live venues—not just a proud moment, but the prize money will also help us push our program further.

A local newspaper headlined its first piece on Prism with: “Bans like in Berlin?” in regard to its “No Photo” policy. What are the challenges of organizing queer parties with smart bookings in a city like Würzburg, as one of Germany’s smaller major cities? How have the challenges and opportunities evolved over the years?

When I started PRISM, there were no queer rave parties in Würzburg, but the demand was huge. I hadn’t planned on promoting again, but when a friend was kicked out of a club for being topless, I thought, > That’s not happening in my city < and decided to create a space for true freedom on the dance floor and unapologetic queer expression.

I was blown away by the support—not just from the queer community but also from local authorities. Supporting drag culture is deeply important to me, so PRISM provides a stage for drag performances alongside up-and-coming queer DJs and dancers. A big challenge when creating a queer safe space in a small city is balancing exclusivity while also educating people on why queer lifestyles need extra care and love. Awareness was a huge focus for us early on, and the No-Photo policy played a big role in establishing an environment where people feel comfortable.

The bookings mean a lot to me, as I hold high standards, but for our partygoers, it’s more about the PRISM experience than specific names. Still, I’ve had the privilege of hosting legends like nd_Baumecker, Cormac, Prosumer, Bashkka, and Massimiliano Pagliara, as well as dear friends like Jorkes, Posture, Nikola Marinkovic, Melatronix, Wannadosomething, and many more.

Before Prism, you launched “Avoid The Subject” as your first platform. What became of those parties?

Avoid the Subject was my first real love affair, I’d say. My friend Andy and I started booking artists we were obsessed with at the time—raw, driving techno like Delta Funktionen, Matrixxman, Somewhen, Hector Oaks, DJ Spit, DJ Gigola, Vincent Neumann, etc. We had wild visuals and aesthetics all over the place and soon built a nice community. Andy and I actually met at Robert Johnson while geeking out over Blawan, and checking his tracks.

Avoid the Subject was raw, pure techno—underground in the truest sense. Before we started booking at MS Zufriedenheit, there wasn’t much proper techno in Würzburg, so it felt subversive and revolutionary, like carving out a new space.

Funny enough, when I was a kid, my mom owned a techno club—around 1999. Back then, techno kind of scared me, but I was also fascinated by it. Avoid the Subject became the first real outlet where I truly engaged with it, and what once felt intimidating turned into something deeply personal. Techno was everything to me back then, and I’m still deeply drawn to it. Unfortunately, MS Zufriedenheit closed in 2021, and things naturally moved in different directions.

Tell us a bit more about your mix. What thoughts or inspirations shaped it? Were you following a specific concept?

The mix was a real tough nut to crack! I had so many ideas about what to include, but in the end, I just thought: Alright, let’s throw in everything that defines my sound. So, it’s a blend of pumping House, Groove, Bass Club, and UKG elements, all woven together with lots of percussion and tribal influences—because, well, I’m Spanish, and that’s just in my DNA. And of course, a touch of Ghetto House and Ghetto Tech had to sneak in, because that energy always gets me.

I also tend to play tracks that surprise people, like Ramadanman’s “Glut,” which always hits differently and keeps the crowd engaged. Tracks from DJ Plead, Pangaea, and April–ESS are often in my sets, too, and especially Errorsmith & Fiedel aka MMM, whose sound I love. These specific tracks just feel right every time.

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And now about your style in general. Your selection is quite eclectic, spanning multiple genres. What influences your curation? Where do your musical roots lie?

I don’t like genres—just like I don’t like categories in general, whether in music or in life. The need to define everything, to put things into boxes, has never felt right to me. It’s the same with gender—I think it’s totally fine to exist somewhere in between, to dress, act, and be however you feel in the moment, just flowing in your own way.

For a long time, I struggled with self-doubt about my musical identity as a DJ. I was interested in so many different things, constantly switching styles, and I worried that meant I didn’t have a clear direction. But at some point, I realized: Maybe that diversity is actually my superpower. So I stopped caring about judgments and just did my thing—and suddenly, everything felt lighter, more natural, and way more fun.

Music has always been my life. I started out playing guitar, obsessed with Indie and Post-Punk, then got hooked on synthesizers, went through a pretty intense Hip-Hop phase, and somehow ended up… here.

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Do you remember your first gig at Blitz? Any particularly memorable or curious moments?

My first gig at Blitz was magical. I remember feeling at home from the very first track. Everything was great—from the artist care to the sound system and the crowd. The freedom of artistic expression in the whole Blitz environment is immense. I played the closing set and felt completely at ease, really vibing with the crowd. The energy was amazing, and I felt free to experiment and guide everyone through the night. It was one of those unforgettable nights where everything just flowed.

And then the night manager came up and asked if I wanted to play a little longer, and I was like: SUREEEE, let’s gooooo, I can do this forever!

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What are your next musical steps? You also produce music and have played live sets—any updates on that front?

At the moment, I’m spending quite a bit of time in the studio, producing. I have a lot of open projects that I probably should finish at some point. I’m also eager to collaborate more—there are a few things in the works for later this year.

I played an analogue live set only once during the corona period, but it was far from clubby. It was more about capturing that pent-up lockdown melancholia and creating endless synth soundscapes, almost like a movie score. I think I’d like to explore that direction more as I get older, especially since I’m really into films. Or maybe I’ll start an Indie-rock or Pop Music project again. You never know!

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You’re sharing the booth with longtime Blitz affiliate Julietta and Dixon at this Klubnacht. What are your thoughts on your fellow artists, and how are you planning to shape your set for the night?

I’m super excited to share the stage with Julietta and Dixon at this Klubnacht. Dixon is a big name, and what he and his mates from Innervisions have built is truly impressive. His sound has crossed my path a few times in my journey, and I really dig his aesthetics and overall vibe.

I’ve only recently checked out Julietta, but she seems really cool and down-to-earth. Her sound is diverse, and I love the way she brings her own unique energy into her sets. She gives me proper OG vibes, which I always appreciate. Can’t wait!

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Beyond networking and self-promotion, what record is on repeat for you at the moment?

Okay, so this answer could be quite long, but I’ll try to keep it short.

I recently rediscovered Jonathan Bree—his track “You’re So Cool” has always been a favourite of mine. It randomly played in my girlfriend’s car the other day, and since then, I’ve had it on repeat. The strings in that song—oh my god.

Then there’s the new Doechii album, which is just massively good. She’s an absolute powerhouse.

And of course, GAGA— I still can’t believe that Gesaffelstein co-produced it. He was one of my heroes in my twenties. The album, wow.

Also, my friend ND completely hooked me on the new FKA Twigs “Eusexua” album.

And if I’m being totally honest, I listen to A LOT of Nintendo music. They just launched a new music app with all my favorite soundtracks… perfect.

The two brothers, Jona and Ferdi Bockelmann (photo credit: Tobias Friedauer)—better known as Glaskin—have become a staple in our club program as residents, delivering sleek, contemporary, and irresistibly grooving Techno. Sterling sounds, quite simply. While each of their sets is a treat, thanks to their consistently refined musical skills, their performance on Saturday, March 1, 2025, will be an especially significant one: it’s live.

Anyone who has delved into their craft and history will know that the two brothers are live musicians at heart and have been pursuing the idea of a live set for years. This is a perfect opportunity to learn more about Glaskin, their musical journey, their approach to live music and performance, and what lies ahead.

One thing is certain: their peaktime set on Saturday will be one to remember. Dress to sweat!

Catch Glaskin performing live alongside Blasha & Allatt, Matrixxman, and Quelza on Saturday, March 1, 2025. Find out more here.

They’ve just released a new EP on SHDW’s Mutual Rytm imprint: find our more right here: https://mutual-rytm.bandcamp.com/album/inertia-of-motion

To anyone new to Glaskin: What’s Glaskin about?

Forward-thinking Techno with analogue-driven rhythms and a distinctive sonic vision.

You’ve been making music together for eight years. Coming from a background in live music and traditional instruments like classical guitar and drums, how did Glaskin come to life in the first place? When did you first consider playing a live set as Glaskin? 

We took our first steps as musicians in a band together but soon went separate ways to gain our own experiences. Ferdi became increasingly drawn to electronic music, started DJing while organizing the Kellerkind festivals, whereas Jona initially launched Glaskin as a more open and explorative project. We knew we wanted to make music together again and quickly realized we wanted to work within the realm of Techno. However, we weren’t sure whether we wanted to focus more on performing live or DJing. We started out as DJs but were eager to develop a live performance, which was around 2017 or 2018. We actually played a few early live sets back then, working with a laptop, but it never felt quite right—more on that later. During the big COVID break, we experimented with new production approaches, inspired by old-school Techno. Looking back, that period was the foundation of our current analog live set. That said, our very first live sets had nothing in common with what we’re doing now. It took time to mature, and the experiences we’ve gained in recent years were essential for its development. 

Jonathan, you’re also active as a (classical) guitarist. You once mentioned that you don’t see much potential or space for merging Techno and dance music with classical guitar. Are there any other notable parallels or differences between performing an electronic dance music live set and playing in a classical setting? 

One key parallel is the importance of sound and sound design. For me, the most defining quality of the classical guitar is quite simple: its sound. I’ve spent a lifetime working on creating a warm, rounded tone on the instrument. The same applies to electronic music—our focus on sound quality is just as meticulous, from fine-tuning each machine to ensuring every sound cuts through when played simultaneously. Another parallel is the goal of immersing the listener or dancer in the moment, making them feel alive.

However, the differences are just as striking. Due to the volume contrast, classical guitar performances can be incredibly intimate—you hear every tiny nuance and sound. This requires extreme concentration, which can be challenging but is always rewarding. 

What was your approach to preparing the live set? And how do you perform it? Can you guide us through the process? 

We want to be able to improvise during our live set, meaning everything is created in real time—there are no fixed track arrangements. We showcase our latest material, including unreleased tracks that may never be officially released. That said, we also include some of our released music, though often with a fresh twist or in a version no one has heard before. We perform using two Octatrack MKIIs, a NI Maschine+, and a Strymon Big Sky effects pedal. These are also the machines we often use in production, so if something new emerges during the process, it can seamlessly transition into the live set. 

This isn’t your first live set as Glaskin. How did your previous live sets go, and how have those experiences shaped your approach to this one? How and why did you adapt it for Blitz? 

Our first live set was years ago and had nothing in common with what we do now. Back then, we used a laptop alongside various instruments, but for our current live set, we wanted to go fully analog. We debuted this setup last November at the Spandau20 showcase at RSO in Berlin, and it was an unforgettable night for us. Everything we aimed for worked, and the energy was incredible. For Blitz, we’ve already prepared new material—tracks that no one has heard before—so this set will be a special one. 

Tell us about your most memorable moments at Blitz: What was the funniest? And might have been the best thing that happened? 

That’s a tough one, as we’ve had so many memorable moments at Blitz. One of the best was playing the closing slot of Unchained [festival in 2024], leading into the second day of the festival. It was a long set where we had the chance to showcase a wide range of records, transitioning from Techno to House. Being completely in sync with the dancers who stayed with us until the very end was an incredible and special experience—a long, unforgettable moment, so to speak.

The funniest moment was probably during a prime-time slot when we felt like we recognized someone dancing in front of us the entire time. It took us a while to realize it was German rapper Samy Deluxe, an artist we grew up listening to. Later that night, we ended up hanging out with him for hours. 

Ten years of Glaskin is just around the corner. What’s next on your agenda? What are you most excited about? 

Our mantra has always been to give our absolute best, whether in production or DJing, and we’ll continue doing so as long as we make music together. That said, we’re especially excited about our live sets, as they bring us immense joy and allow us to explore new dimensions of music production and dance music as a whole. This constant experimentation prevents stagnation—we’re always trying new things and improvising, which keeps the process fresh. Seeing how people resonate with our live set is truly rewarding. 

Finally, our classic last question: What’s the last piece of music that left a mark on you—what’s keeping you pressing repeat? 

Dream from Ryuichi Sakamoto!

Our upcoming Klubnacht on Saturday, 8th of February features our dearly beloved Steffi, alongside Earwax, Luke Hess, and Rosati—a winning quartet, all affiliated with Steffi’s Dolly imprint. We had a chat with Steffi, catching up from the ice-cold German winter to the rather mild and sunny weather in her current home, Portugal, to find out more about Dolly and Saturday’s lineup.

Find out more about the party on SAT 08/02 right here and make sure to save a ticket in the presale right here.

And before you start reading: why not dive into Dolly’s catalogue on Soundcloud or here on Bandcamp right away?

Dolly started in 2010, ten years after your first label, Klakson. What made you start the label in the first place?

I mainly wanted to start something new and was inspired to work on a fresh platform. Klakson is very focused on Electro, and I wanted to launch a label for other kinds of dance music—so Dolly started mainly with House. Around that time, I also moved from the Netherlands to Berlin, which was a great opportunity to start something new musically, too.

Looking back, do you feel Dolly reacted to something happening in dance music?

No, it was all down to inspiration. To this day, there’s so much great music that keeps me excited and going!

So Dolly stems from a very personal and intrinsic motivation?

Yes, but that applies to all my projects and imprints. I feel lucky to be inspired by so much thrilling music, with new ideas constantly popping up. That’s what keeps me going decades after I first started! Truth be told, music is the worst and most dangerous drug—there’s no escape! (laughs)

Our upcoming Klubnacht features artists associated with Dolly—particularly the Dolly TS sublabel. What’s the story behind Dolly’s different sublabels?

Well, Dolly was always about four-to-the-floor music—unlike the Electro-driven Klakson or the youngest, studio-centred Candy Mountain imprint. It made sense to have different sublabels for different shades of dance music.

Dolly Dubs focuses on breakbeat & brokenbeat–oriented music for example, while Dolly TS is all about long-lasting Techno — high-quality music that tells stories. It’s not about tools you play six times and then forget. Instead, it’s music with lasting melodies and song structures—tracks that work not only in a club but also at home or even at work, for example.

When and how did you decide to start Dolly TS?

It began with an EP from my old friend Luke Hess. We had talked about doing a release for ages, but for some reason, it took a while. When he sent me some music, it just happened to be the perfect kick-off for the TS sublabel.

So that boils down to the inspiration you mentioned earlier!

Yes! That and the great reception the first EP received really motivated me to continue.

Tell us more about the other artists on the lineup: Rosati and Earwax.

I’ve known Rosati for a while now, and our understanding of Techno aligns perfectly. He simply makes Techno the way I believe it should sound.

I haven’t known Earwax for as long, but one of his tracks, 49 Hours, really caught my ear and I knew right away he would be a great fit for Dolly TS. He’s an exciting artist and puts out thrilling music.

Where would the world be without Dolly?

Well, the world would keep turning, but it would lack a label dedicated to pushing discerning and consistent dance music—quite simple.

What’s the funniest thing that has happened to you at Blitz?

I definitely remember that during the release party of my last album, The Red Hunter, when I played a live set the AC stopped working. It was one of the Cruise parties…

…which are always particularly steamy, sweaty, and hot events!

Exactly! And then, of course, another hot occasion—when Stenny and I played one of the first parties at Blitz Restaurant… in the kitchen, while the cooks were grilling burgers right behind us. I still remember our red-hot faces!

What can we expect from Saturday? How did it all come together?

Well, David (Muallem) and I have been friends and have worked together for a long time, and I’ve played at his clubs and events for years. We talked about doing a Dolly-focused night for a while and we’re happy to finally make it happen.

I’m excited to play the opening slot. I love when the room starts empty and slowly fills up. I’ll begin with some deep, spacious Techno, then Luke Hess will take over with his signature dub-leaning Detroit Techno, before Rosati and Earwax guide us through the rest of the night.

Finally, our classic last question: What’s the last piece of music that left a mark on you—what’s keeping you pressing repeat?

[thinks for a while] This track! Crazy tune. I’m thrilled. Really thrilled. One of the best remixes made.

Dance music—and especially techno—enthusiasts around Munich will likely recognize Kareem El Morr‘s name. The Munich-based DJ and producer has become synonymous with consistent and highly refined techno, boasting releases on Ilian Tape, UMAY, Molten Moods, and many other exciting imprints. With his sleek and precise selections, he’s been a recurring presence in our lineups, but you’re about to see and hear a lot more from him at Blitz in the near future! If you’re not yet familiar with Kareem El Morr, now is the perfect time to dive in.

We’re thrilled to present Blitzcast 026 by Kareem El Morr, accompanied by an interview that delves into his approach, his perspectives on Munich’s scene, and his musical journey.

Kareem will be joining us on December 24th for our Unholy Residents bash, and he’ll be back to keep the energy soaring during our NYE & NYD CRUISE XXX-TRA LARGE party on December 31st and January 1st.

And make sure to follow Kareem El Morr on the socials to stay up to date with all the exciting news to come. INSTAGRAM / SOUNDCLOUD

Get to know Kareem El Morr as his Blitzcast guides you to a higher—or perhaps deeper—state of consciousness.

Karim, could you tell us more about your Blitzcast? How did you approach it, and what inspired you in the process?



This podcast is very much inspired by my perception of the Blitz Floor and its vibe, as well as the creative and musical direction of the club itself. I have always seen Blitz as a pillar that provides a constant in these fast-changing times, dedicated to techno’s foundations. That’s what I tried to aim for with my mix: something I’d love to hear at one of the club nights on the Blitz Floor—a seamless ride of deep and heavy bouncing beats, with a pinch of drama, melancholy, and depth.
I chose tracks from my collection that are timeless classics for me—like those by Eduardo de la Calle and G-Man—blending them with newer material. The goal was to create a mix that highlights techno’s enduring brilliance over the decades, from the ’90s to the 2000s and 2010s. While I typically play sets filled with music that’s new to me, this podcast was a chance to dig deeper and reflect on my roots. To me, this balance of past and present aligns perfectly with Blitz’s vision.

As a DJ, what is your process and approach? What are you aiming to achieve in your sets, and who or what inspires you along the way?


My process is quite meticulous, maybe even a bit tiresome — I spend a lot of time preparing playlists tailored to different moods, with tracks sorted by energy levels. This lets me focus on the moment and the vibe I want to create without scrambling for the next track.
While it’s demanding to spend so much time on preparation, I enjoy the process almost as much as playing itself. Being immersed in music for hours all by yourself is an introvert’s dream, to be honest—hahaha.
Generally, the vibe of my set depends on the night, lineup, timing, and my mood. I enjoy building a constant flow of energy in my sets, with slow and deliberate transitions. The overarching journey of the night matters to me: starting off with a slow buildup, gradually taking the audience on a journey so seamless that they lose themselves in the music. Pulling this off is challenging but incredibly rewarding.

In the crowded dance music world, where do you see Kareem El Morr’s unique space? And what would the scene be like without your contribution?


I’d say my space is exactly where I am. Being a resident at Blitz is a pretty great position to be in, and I’m very grateful for it.
The dance music scene today is fast-paced and often distracted by superficial trends, which makes it challenging to keep the focus on the music itself. I’d love to see the scene slow down a bit and give more attention to the art and craft of music. But that might be a bit delusional—hahaha.

You’ve played extensively around Munich in recent years. What makes Blitz stand out for you? How does it offer a unique opportunity for you in terms of sound and style?


To me, Blitz stands out as a constant source of high-quality music and programming. Electronic music has changed a lot recently, but Blitz has remained true to its values and vision in terms of musical programming, and I know how challenging that can be.
It feels like the right place for me. Stepping onto that floor when it’s packed with an energetic crowd, dimmed yet warm lights, and a killer sound system always makes me shiver. It’s a very special vibe that invites you to play deep, heady music while still being open to funk-driven sweetness in the early morning hours. Blitz offers many opportunities for special moments and never makes me feel locked into just one style.
Beyond the music, the people around the club are absolutely heartwarming and good friends, which makes the place feel even more like home.

Your next gigs at Blitz are at our festival’s Unholy Residents party on December 24th and on NYE & NYD. What can we expect from your sets? What are you looking forward to?


The 24th feels like a family gathering where the focus is on having a good time together. As far as I know, we won’t have a strict timetable, but I’m open to everything and will just try to go with the flow. Maybe some unexpected B2Bs will happen, who knows?
I’m especially excited for NYE, where I’ll be playing back-to-back with Polygonia. It’s been a while since my last B2B set, and I think we share a lot of stylistic common ground, so there’s plenty of room for great moments.

How did you first get into dance music and techno?

Everyone has a phase during their youth where they explore different music genres. For me, it started early. I was obsessed with music in my teenage years.
I went through extensive phases of punk and metal when I was about 12—listening to bands like Rage Against the Machine and Nirvana. Later, I got into reggae and ’90s American hip-hop, which had a huge influence on me.
At some point, I was introduced to electronic music, and it immediately clicked. I knew this was the music I wanted to explore and create, not realizing it would spark a 20-year love story.
I was 16 or 17 at the time and already had turntables from experimenting with DJing hip-hop. I immediately went to Optimal, Munich’s go-to record store back then, and bought my first techno and house vinyl. It wasn’t anything noteworthy—probably some goofy stuff no one wants to hear today. But that’s how it started. Visiting my first techno club with my best friend Leo, also known as Vince, cemented my passion for this music.

As an “Urmünchner” (a true Munich local), how do you feel about the city and its scene?


I’m happy with Munich’s scene. It’s a good size with solid diversity now. It wasn’t always like this. About seven years ago, it felt like Munich was a house-focused music city, and it was tough to book underground techno DJs or host successful events.
Nowadays, techno has gained more prominence, though I do wish house music had a stronger presence to balance things out.

What does 2025 hold for Kareem El Morr?


Definitely more music! I’m currently working on launching our new label, roots.audio, with Reduks and VSSL—two incredible artists and friends from Munich. We share a vision for “back-to-the-roots” techno, and it feels great to contribute to the city’s music scene. Our first release will be a Various Artists EP in February 2025. I’m excited to see where this journey will take us.

Beyond your own work, what music has been exciting you lately?


In techno, I’ve been loving Altinbas’ work—it’s emotive and driving, with a timeless quality. Outside of techno, I always return to foundational tracks like Rhythm & Sound’s “Mango Drive” and Monolake’s “Hong Kong.” These classics never fail to inspire me.

Dario and Marco Zenker, known collectively as the Zenker Brothers, are notable contributors to Munich’s dance music scene and history, through their own artistry and their renowned label, Ilian Tape. As foundational figures in our programme and regulars at Blitz Club since day one, they now return with a brand-new live set and a stunning live video on Resident Advisor, recorded on our very own Blitz Floor.

We sat down with Marco and Dario to discuss their journey into live performances, their perspective on DJing, and what the future holds for the Zenker Brothers and Ilian Tape.

• You’ve been DJing and producing for quite some time: when did the idea of playing a live set first cross your minds, and when did you finally make it happen?
  Actually, our first gig together ever was a live set on New Year’s Eve 2009 at the old Harry Klein in Munich. We had two computers, and at one point, the computers weren’t in sync anymore, and we had to restart one during the set. It was pretty chaotic but a good experience. Since then, we’ve only played live a couple of times—at Unsound Festival in Krakow, Mutek Festival in Barcelona, Fusion Festival, and a few club shows. After many years of not playing live, this year, we felt the urge to do it again, but this time without any computers.

• Ilian Tape as a label has developed a distinct range of dynamics, with EPs and LPs often serving different purposes. Your album productions—whether as Zenker Brothers or as solo artists—tend to take a more explorative, less functional route. Has this explorative mindset influenced your live sets?
  Our live set is pretty dancefloor-focused and functional but still explorative in some parts.

• How did your live set come together musically? What was the initial concept? Who brought what ideas to the table? Walk us through the creative process and the techniques or tools you used.
  We just wanted to be as flexible as possible while playing live, so it’s basically improvised in terms of transitions, drops, and the whole arrangement. We used a lot of older and new material and made totally different edits out of it to perform. Our setup is very limited: 2 Octatracks + 2 Delays, 2 Stereo Filter Modules, and 1 SSL Mixer. We use mostly hardware to create new music in the studio and load everything into the Octatracks to create the tunes to play live. We also rework these tunes before every show, so we never play the same set, and the whole project is always evolving.

• After years of DJing, how does performing live in a club compare? Is the feeling or interaction with the crowd noticeably different?
  It’s very different. During a DJ set, you can react much more and interact with the crowd on another level, while you are more limited when playing live, as it’s only your own music with a certain vibe. We also try to interact with the crowd as much as possible, of course, but we are pretty much in the zone while playing, as we are arranging all the tunes live.

• How do you see the role of live sets in today’s electronic and club music scene? With the high-paced scene, is there a unique value or need for live performances right now?
  It really depends on the environment and if the crowd is open to it. Playing live is more personal than DJing and also more compressed in terms of the duration of the set and the possibilities to showcase your own vision of music.

• As residents since Blitz’s opening, how have your DJ sets at the club evolved over the years? Have your experiences at Blitz changed your perspectives on DJing?
  We held different residencies in Munich clubs before Blitz already, and opening the nights, of course, has influenced our way of approaching a dancefloor and giving the music and room space to evolve in the best possible way.

• What’s next for the Zenker Brothers and Ilian Tape? Any upcoming projects or milestones you’re excited about?
  We keep working on our live show, a new LP eventually, and, of course, piloting the label. We are very grateful to all the artists on the label for constantly sending us dope music. The label turns 18 next year, so we will work on some special birthday nights.

• Reflecting on your long history at Blitz, what are some of the most memorable moments you’ve had? Was there a particularly funny or challenging experience?
  Most of the shows we played at Blitz were amazing vibe-wise, but January 1 is usually very special, and so are the Ilian Tape nights, of course. Playing the last set in the morning at a Cruise party this year was also a highlight. Once, during an opening set, the fire alarm went off, and suddenly several ready firefighters were standing next to us.

• And lastly, our classic closing question: besides promoting your own work, what music have you been really into lately? A track, album, mix—anything that’s caught your ear?
  We both mostly listen to everything but electronic/club music when we are not producing, getting ready for DJ gigs, or compiling releases for the label. So, we really enjoyed the output from International Anthem Records, The Alchemist, Tyler, the Creator, and Pete Rock this year.