We’re currently in Berlin where we live. Last weekend we were on tour and we’re looking forward to being on the road again in a few days!

We are a live band and we play techno. We work as a regular band but we sound like a DJ or techno live act. Imagine a drum computer, a bass synth and a sequencer have become alive and now play concerts like a punk band.

It wasn’t easy! In 2020 we already had big plays and of course, it was a huge disappointment when almost all the gigs got cancelled. After a first shock, we started to adapt to the new situation. We played lots of live streams, we started to work on our debut album and we found a way to navigate through the crisis by creating loads of videos. For example, we launched the KOVER series in which we play covers of techno tracks that are important to us.

It's on the rise! Of course it wasn’t always easy over all the years but we constantly grew and kept learning. We sure haven’t done everything we ever wanted to and there are constantly new ideas popping up in our heads. For example, we are currently working hard on putting our live show on a new level. This requires bigger stages and there are events confirmed suitable for our ideas. Long story short: stay put!

We decided to go for an album and not just another EP (which is still a lot of work) because we had the time to write and record enough music. We had way more tracks and ideas than the ones that finally made it to the vinyl. It takes time to record all that stuff. The process involves also listening back to the recorded ideas, then discussing, re-arranging and of course dismissing the tracks that don't fit. Before we decided to record an album we felt like EPs are best for the style of music we do. But we were desperate to say “here we are, this is K, this is our music and this time it's an album!”

Let’s take Tank to run you through the process of how we’re making electronic music. The main riff is played on a guitar, that goes through an array of effects pedals. The pedals (mainly Empress Effects ZOIA in this case) take the pitch and change it to a synth sound. So only when Laurenz, the guitar player, plucks a string you will hear the synth. There is no sequencer triggering a certain synth, everything is coming from the guitar and the pedalboard. The same goes for the bass of course. The drums don't come from a drum computer either. Tim, the drummer, played all the patterns live. If you watch us playing live you will see how he hits the hi-hat, cymbals or his sample pad. If we don’t move, if we don’t pluck anything or hit on anything there won't be any sound. This is what sets us apart from a regular live techno act.

For us a really special track on the album is Kapital. It went through a lot of changes. Tim brought up very first the idea with a voice sample of a friend saying “Kapital,” and it didn’t even make it to the final version! Then we decided to ask Jamila Al-Yousef if she wanted to add some vocal lines to the track because we felt like something was missing. We also had her voice in mind and liked the idea of Arabic vocals. There are so many tracks with English vocals and we really like her lyrics and her sound. The track is also special because we recorded some parts (including the bass) remotely due to the pandemic.

Sure! We really like La Fraicheur from Barcelona. We also like Fjaak because of their old school attitude and we love Claude Young Jr. and Robert Hood because they actually are old school and we fucking like 90s techno!

Yes! You will see us at festivals and in clubs this summer. Mostly in Germany, but we also have tour dates planned around Europe later this year. We will even play a rave in an opera house in Berlin this summer!

We would love to play in Detroit. Detroit is the city where most of the music we love comes from. We would love to meet some of the people and it would be such an honour to talk to the folks who came up with techno. Meeting and raving with people like Robert Hood or Jeff Mills... that's the dream.