Dave Clarke knows bullshit when he sees it, and he calls bullshit on the carefully constructed public personas of DJs who’re all about them dollars and whose egos have destroyed the authentic roots techno laid down. Dubbed the Baron of Techno, the pioneering DJ and producer has been a central figure in the music scene since the early ‘90s. After carving out an impressive legacy and becoming an icon, he never sold out to commercialisation. He stayed true to his core values, saying, “Authenticity through art is a gift, and mediocrity through mercantile business is the destroyer.”
As Clarke celebrates the thirtieth anniversary of his groundbreaking Red series and Archive One albums with a special edition boxset, we talk with him about his early days of juggling low-paying jobs, local DJ gigs, and career sabotage to his status as a global techno icon. He shares his views on maintaining artistic integrity, the state of techno today, and his unwavering support for emerging artists. And he also gives insight on how he got into photography and how it compliments his music.
You can catch the Baron in action live on July 27th at Razzamatazz in Barcelona, and August 25th at The Basement in Madrid, Spain.
When you first fell in love with music, did you imagine you would be where you are now?  What are some pivotal moments that changed your trajectory in the techno scene?
I always knew I would be doing something with music; in fact, some school friends also knew, as they said a few years back, that I was very single-minded with it. I didn’t exactly know what, though, but technology and hip-hop came along and showed me the way. Hip-hop with what you could do with turntables and technology with drum machines and multi-track recorders. As a very young kid I saw pop stars, but I didn’t want to be them. It looked empty and fragile to need that adoration, but cool lyrics and weird production always sucked me in; looking back, I was very nerdy, and that was at a time when it wasn’t understood. You were just this back-of-the-room hyper-focused individual.
Techno has changed a lot. As a pioneering figure in the early days of the genre, what challenges did you encounter while establishing yourself in the scene?
A lot of rejection and some sabotage too. Rejection is what a lot of people sadly go through. It either toughens you up or puts you as a husk on the mountain of ‘what could have been.’ Luckily, the students I teach are so supportive of each other, and that gives me hope in a fresh new collaborative generation. Sabotage was so prevalent, jealousy too. Things would be said to me like, you are only headlining because your manager has a relationship with the owner of the festival. This was said by someone who actually uses that technique very effectively now, ironically (and was wrong about his assumption). I had a seriously deluded threat from someone who had an office not so far from me in the late ‘90s. Police were even called.  The romantic struggles were being canned from a hip-hop jam for playing acid house. Not eating as gigs were not coming in, being young and with no real financial obligations, and, of course, many refusals of my music by record labels, including Red 2. These things made me, I suppose.
The genre has evolved significantly over the past thirty years. What are the biggest changes you’ve witnessed, and how have these changes influenced your music?
Well, the majority of ‘techno’ now has nothing to do with techno in terms of sound or spirit. There is nothing challenging coming through with a lot of this supposed ‘techno’—call it something else. I wouldn’t give a damn. Selling out such a wonderful form of music, including by some who claimed to be part of it but were only interested in playing money games, was such a shame. Techno has been dragged through the mud now.  However, in the last thirty years, so much has happened. Techno changed almost everything about music production across many, many genres. It helped unite people facing adversity and gave a voice to many who did not fit into the conservative, boring world.
The album celebrates your impressive thirty-year career. How does this record reflect your journey and growth as an artist?
It is good that it didn’t come out on the 25th anniversary as was the original plan because, for me, this is a bookmark from almost the beginning of techno to almost the end. I am so proud of this album. Even though things have changed, when I listen, it still stays true to my core values.
Your Red Series and Archive One are iconic works in the techno world. How does it feel to see these works still being celebrated?
Surprise and privilege.
What emotions or memories does this special edition box set re-release bring back for you? What is the significance of the Red Series and Archive One in your career?
It was great to write the mini booklet inside, it helped me revisit feelings and put things in perspective, such a different time to now. My team really worked hard to get this to happen, and when I finally saw it, well, it floored me. It was also cool to still have one of the record boxes and the original t-shirt from that time so I could re-enact the same photo as Rankin did. The words on that t-shirt still mean what they mean.
The only other time I brought it out was for a Boiler Room around 2014 when everyone was looking and hoping to be bought out by SFX. This changed the festival scene going forward into a mass-consumption product. The supermarketisation of techno started. I was offered to sell my radio show at the time and refused; independence was what kept the edge alive. So, I believe that I stayed true to who I was back then. The Red Series also enabled me to make my DJ career international and leapfrog those who had sabotaged it.
You’ve been bestowed with the title ‘The Baron of Techno,’ what are your thoughts on the title, and what does it mean to you to be recognised as a trailblazer in the genre?
Without John Peel, I would not have had the career I had, something I will always keep saying, so it is a name I take as a little gift. Luckily, there are many trailblazers in techno. Without Jeff Mills, things would have been so different; there is no I in team, and there are many trailblazers.
Your music is renowned for its raw, uncompromising style that pushes boundaries. What’s your creative process like these days?  How has it evolved from the early ‘90s when you first started?
Photography is now in my creative process; it helps me go deeper into my alternative music side.
You’ve been a vocal advocate for preserving techno’s underground roots and resisting the pull of commercialisation. Why is maintaining this authenticity so crucial to you?
You know, when you love something, you just love something; it is unquestionable. The ego has destroyed much of what the underground roots put down; this is across all creative forms now. Authenticity through art is a gift, and mediocrity through mercantile business is the destroyer.
“The majority of ‘techno’ now has nothing to do with techno in terms of sound or spirit. There is nothing challenging coming through.”
As an influential artist in electronic music culture, what role do you believe identity and individuality play, and how have you navigated these dynamics throughout your career? 
Now, to be a ‘successful’ individuality is seen as a hindrance aside from perhaps one mini spin to differentiate you from other clones, a small ‘identity’ carefully constructed so as not to scare/shock or offend, let alone challenge, is the way for a DJ to be successful. Pretend to be political but only ride on others’ mass sentiment, pretend to be green and go for the middle ground through consultants and branding experts. I’m lucky my personality was at a time when I was allowed to think alone.
Maintaining a successful career in music for thirty years is a remarkable achievement. What has been the key to your longevity, and how do you stay motivated and inspired?
You can only be you; if you change that, you have no soul.
What has been the most significant obstacle or struggle you’ve faced throughout your career, and how did you overcome it?
Myself, but if I am not myself, I would easily be more successful but lying to myself. Also, not doing drugs at all. It provided a mirror to others, even though that was not my intention, and made people suspicious of me. I am glad that people not doing drugs now are not given a hard time these days. A journalist once said why trust a DJ if they don’t do drugs?
It’s clear you have creative passions beyond music. How did you get into photography, and how does it complement your music career?
Photography was another gift to me from my father. I had to decide on either music or photography when I was young, and I chose music. I was always fascinated by it and eventually dived in once again, and it worked for me this time. I spend longer time in cities and enjoy walking around with my camera. I listen to music from my Saga Radio Show. It is different from White Noise (almost twenty years old now) in the fact it is about alternative music across many genres, and they both feed each other. It also has been an artistic input to a new album that is yet to come out.
“The ego has destroyed much of what the underground roots put down. Authenticity through art is a gift, and mediocrity through mercantile business is the destroyer.”
Are there things you can explore through photography that you can’t through music?
Absolutely, it is instant. Music requires me to sit down and take a lot of time, but photography is instant—just a little bit of editing, but nothing like working on Logic Pro. So, two different approaches which really is good for my mind. You also see the world in a musical way and hear the world in a photographic way. They just meld together into a beautiful dance.
Looking back, what do you hope your legacy will be in the world of electronic music? Are there any particular moments or achievements in your career that you’re most proud of?
Just being truthful and saying it as it is.
What message do you have for your fans who have supported you throughout your thirty-year career, and what can they look forward to from Dave Clarke in the future?
Thank you, of course. You have always been passionate and followed my shows and are very kind sensitive people, thank you for allowing me to be me.