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© 2026 True Underground. All rights reserved. True Techno 112 Stigmatique: Analogue Hardware and Personal Turning Points Germany’s techno underground retains its rawest impulse through dedicated local operators who resist commercial trends. Operating out of Leipzig, Stigmatique has spent the past decade shaping an uncompromising sonic identity defined by sub-bass weight, raw analogue hardware, and intense emotional narrative arcs. His entry into professional music production followed a period of intense personal difficulty. A crucial encounter with a peer pursuing music provided the catalyst required to commit fully to studio composition. He once told me that it was time for a turning point in my life and that, if I truly wanted to achieve my dream, I had to make a decision. So I did—and here I am. The moniker itself roots directly in sociological theory regarding social judgment and isolation. Derived from experiences as an outsider, the name represents an intentional choice to channel personal marginalisation into raw warehouse audio. The definition is as follows: Stigmatization is the social process in which individuals or groups are negatively judged, excluded, or discriminated against because of certain characteristics that are perceived as deviating from the norm. The affected person is reduced to that single characteristic, often resulting in prejudice and social disadvantage. I used to be a loner because of my past, which is why I identified so strongly with that definition. Stigmatique Techno Podcast Feature: Independent Label Ethos and Studio Mechanics In 2018, that outsider perspective led directly to the establishment of SEELEN. Records alongside co-founder JANEIN. The label introduced a sharp punk edge to the German techno environment, delivering raw pressings well ahead of the broader shift toward higher tempo styles. Back then—and still today—we simply captured the sound of the moment. Long before other styles of techno or faster music became mainstream, we had the opportunity to shake up the musical landscape with our punk attitude and raw charm, questioning the status quo. Our sound has remained consistent over the years, and I’m convinced it still will be twenty years from now. The early years of SEELEN. Records depended entirely on physical direct sales without external commercial networks or digital platforms. Managing pressing logistics, packaging, and fulfillment directly established a grounded operational ethos built to withstand market volatility. That period wasn’t easy, but it taught us from the ground up what it really means to run a record label and move it forward. Without a distributor, digital releases, or any other external sales channels, we managed to create something with lasting value—something that will continue to stand for quality in the years to come. Many successful artists never really learn what it means to be consistent, what it means to start from absolutely nothing, to take every single step on your own, or to stay true to yourself and your roots. Those are all qualities that are essential if you still want to approach your passion with the same energy and dedication twenty years later as you did in the beginning. To maintain physical digging culture, SEELEN. Records enforces strict limited vinyl pressings. This commitment ensures each physical record holds tangible value for vinyl collectors navigating a saturated digital marketplace. We want digging for vinyl to remain something special. Holding a physical record in your hands should still feel meaningful, and owning one should feel like owning something truly unique. In today’s fast-moving world, that’s incredibly important. Dancefloor Dynamics and Live Set Architecture Recent production outputs highlight this evolving emotional charge. The December 2025 release Am Ende War Die Nacht EP translates personal upheaval, enthusiasm, and melancholy into driving warehouse rhythms. For me, my artistic identity has always been inseparable from emotions and feelings. Every release reflects the emotional state I was in at that particular moment. To answer that question properly, you’d first have to know how I was feeling emotionally during that time. For me, it was a period of major change, new beginnings, and enthusiasm, all existing alongside melancholy. Ironic, isn’t it? The vinyl release SEELEN 013 featured remixes from Phase Fatale and Denise Rabe, selecting close artistic allies to recontextualise the core tracks. Behind the decks, Stigmatique avoids continuous high-intensity pounding, preferring to build dynamic sets that alternate between raw power and melancholic atmosphere. It’s simple: emotions. It’s important not to play one high intensity after another. Instead, you should reflect yourself and your emotional state. I see my sets as a way of expressing things I might not have the courage to say directly. Someone who only wants to play dj sets isn’t a real musician. Only someone who genuinely wants to express something or grow through music can truly make an impact or communicate a meaningful message. In the studio, digital sound generation forms the primary framework, supplemented by analogue hardware to introduce unpredictable textures. This hybrid workflow prevents routine composition habits while maintaining a direct audio signature. Using analogue hardware always brings an unexpected freshness to my productions, especially since I mainly work with digital sound generation. It creates a raw, unfiltered, and very direct sonic signature, if you can call it that. Sometimes it helps me break out of my usual creative environment and think beyond my own boundaries. But special in the last time I try to keep going only with digital synthesis. As SEELEN. Records expands physical fulfillment through the Inch By Inch network, the imprint maintains accessible ticket pricing and authentic venue partnerships. Following a Berlin showcase restart and an August 2026 debut at Sisyphos, Stigmatique continues pushing independent techno forward on his own terms. The most important thing is to stay grounded and be yourself. The people who follow us know that we’re trying to represent a thing above the mainstream. We don’t chase trends, and we want our music to remain accessible to people who maybe can’t afford to spend €50 on a ticket. That’s why we continue to grow. The people who support us can identify with us, and we can identify with them. We stay true to ourselves. We stay true to the scene. And we treat everyone who comes to our events or buys our music as equals. We’re all the same. True Techno 112 Stigmatique FAQ What is True Techno 113? True Techno 113 is an episode of the True Underground feature series highlighting Leipzig techno producer Stigmatique. Which label does Stigmatique co-found and manage? Stigmatique co-founded SEELEN. Records alongside JANEIN in 2018. What origin defines the name Stigmatique? The moniker Stigmatique originates from the sociological definition of stigmatisation and social exclusion. When was the Am Ende War Die Nacht EP released? Stigmatique released the Am Ende War Die Nacht EP in December 2025. Who created remixes for the SEELEN 013 release? Phase Fatale and Denise Rabe contributed remixes to the SEELEN 013 vinyl pressing. Which network handles physical fulfillment for SEELEN. Records? Physical vinyl fulfillment for SEELEN. Records is managed through the Inch By Inch network. When did Stigmatique perform at Sisyphos in Berlin? 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© 2026 True Underground. All rights reserved. Pan-Pot discuss sub-bass physics, Minimoog Voyager sound design, and their dual-label evolution across SECOND STATE and HUMAN. Pan-Pot, the Berlin-based techno duo of Tassilo Ippenberger and Thomas Benedix, have detailed their production acoustics, sidechain mechanics, and label philosophy in an extensive exploration of modern club dynamics. The discussion accompanies their live recording for episode 111 of the True Techno mix series on SoundCloud and the dual-label release of Everytime. In the humid intensity of a Munich night, the dancefloor at Greenfields pulsed with a raw, collective force that Pan-Pot know intimately. Tassilo Ippenberger, one half of the duo and a native of the surrounding area, describes it as something close to a home game. Their recent live set for the True Techno mix series captured that energy from the first track, the crowd’s enthusiasm translating into an unrelenting momentum that leaps off the recording. “It was intense from the very beginning. The Munich crowd is always incredibly enthusiastic, and you can really hear that energy in the recording. It gave the set a strong momentum right from the opening track… That connection made the atmosphere even more special, and we think it translated very naturally into the recording.” That same drive for physical connection and hypnotic immersion runs through their latest single, Everytime. Released jointly across SECOND STATE and HUMAN, the track is built around a hyperdriving vocal sample that functions less like a traditional arrangement anchor and more like a mechanical centrifuge, spinning the listener deeper into the groove with each repetition. The spark came from a shared love of loopy, hypnotic house records. “We wanted to capture that same kind of energy, where a simple element repeats and gradually pulls you deeper into the groove. When we found this vocal phrase, it immediately did exactly that for us. It has this addictive quality and creates a relentless forward momentum without needing to say too much.” Processing the sample demanded careful restraint. The vocal itself remains direct and unadorned, while the space around it shifts through subtle filtering, effects and placement. Other elements drift in and out, ensuring the loop never settles into stasis. “The key was to keep the loop simple while constantly changing the space around it… That balance was important: it had to remain hypnotic and relentless, like the classic house loops that inspired us, without becoming static or exhausting.” Pan-Pot on Minimoog Synthesis and Low-End Control Beneath the vocal chaos sits a low end of precise weight and punch. Both the sub-bass and mid-bass layers were crafted entirely on a Minimoog Voyager, heavily sidechained to the kick, with frequencies below 30 Hz cut for control. The bass remains strictly mono, refined with EQ and iZotope Ozone’s Impact and Clarity modules, guided by a trusted co-producer whose critical ears proved essential. The result is a track that feels both heavy and agile, rooted in house yet unmistakably Pan-Pot. While the release bridges both of their platforms, the duo are clear about its true home. “Everytime is very clearly a HUMAN release. This track represents the direction in which we want to take HUMAN moving forward. It is direct and powerful, but also loopy, playful and strongly rooted in house music. That balance feels very true to where we are creatively right now.” Fans can stream and download it now on Beatport. HUMAN emerged as a deliberate response to the fragmentation of modern club culture. Sets have grown shorter, genres narrower, and attention often drifts from the collective experience on the floor. “Clubbing has become faster and more fragmented. With HUMAN, we wanted to create a space that brings attention back to the essential experience: people connecting through sound, losing themselves physically and trusting the full journey of a set. It is our response to modern club culture, but also a reminder of what made us fall in love with it in the first place.” Where SECOND STATE was forged as a focused, peak-time techno vehicle – powerful, direct and engineered for maximum impact – HUMAN opens the frame. It still delivers intensity, yet makes room for groove, repetition, house influences and playful detours. The difference is one of scope: SECOND STATE hits the peak; HUMAN maps the entire journey around it. Berlin Techno Duo Tassilo Ippenberger and Thomas Benedix on Dual-Label Curation That philosophy took to the streets on 15 August 2026 when Pan-Pot rolled out a custom truck for Rave The Planet in Berlin. Hosting their own vehicle at the parade had long been an ambition. Deeply tied to the city and its electronic-music heritage, they saw the mobile stage as a natural extension of HUMAN’s ethos. “A moving truck also reflects what the concept is about: bringing people together through music without the boundaries of a traditional club. It gave us the opportunity to celebrate the city and the culture that have shaped us while sharing the HUMAN vision in its most open and collective form.” Engineering heavy techno for a moving, open-air system presented distinct challenges. Wind, shifting reflections, an audience in motion – all demanded careful system tuning to keep the low end tight and controlled without sacrificing the pressure crowds expect. “It’s a bit of a balancing act: heavy, controlled and powerful, but still musical enough that it works as a moving sound system.” Alongside them on the truck were Ali3n and ONYVAA, chosen for the strength of their individual identities. Neither chases trends; both bring a distinct energy and attitude that keeps the journey evolving. “We wanted the truck to feel like a journey rather than just a lineup of DJs playing one after another. Their sound fits naturally into that darker, driving side of techno we love, but they still have enough individuality to keep the energy constantly evolving.” For Pan-Pot, participation in Rave The Planet carried personal weight. The parade continues the legacy of the original Loveparade, keeping the culture’s values visible in public space. “It feels very personal and, in many ways, like a full-circle moment. Berlin and its club culture have shaped us enormously… To participate with our own truck and contribute to that legacy was both emotional and a great responsibility.” HUMAN has since expanded to Amsterdam, New York and beyond. Adaptation, they insist, is less about geography and more about reading the people in the room. Berlin remains a reference point of rawness and freedom, yet the core identity travels intact. Pacing and energy shift according to the crowd, but the goal is always the same HUMAN feeling rather than a carbon-copy event. In the studio, the pair maintain a steady output (Futoreno, KALTSTROM, OPERA, Nightcode and more) by refusing to force a singular sound. Tracks begin from different sparks: a synth experiment, a groove, a vocal. Ideas that feel too familiar are set aside and revisited later. “The important thing is that every track has its own personality and a reason to exist… They should each tell a slightly different story while still feeling like they come from the same universe.” Balancing two active labels with a full global touring schedule relies on communication and a trusted team who understand both visions. Decisions are discussed regularly; trust keeps the machine running while the duo are on the road. When demos arrive, identity is the primary filter. Technical polish can be refined, but a track without personality or an idea offers little foundation. They listen for an immediate reaction – a groove, an unexpected arrangement, a tension that lingers. “If we listen to it and still think about it an hour later, that’s usually a very good sign.” Long-form sets have become a signature of HUMAN showcases, including eight-hour sessions in Berlin. With that much time, there is no need to start at peak intensity and hold it. The approach is narrative: a rough direction, then responsiveness to the room. Deep, hypnotic passages give way to rising rhythm; tension builds, resets and redirects. “After eight hours, you want people to feel like they’ve been on a journey, not like they’ve just listened to one very long techno set.” In an era of rapid subgenre fragmentation and short-form digital media, Pan-Pot protect their sonic identity by ignoring the chase. Trends are noted, but the focus remains on groove, tension and the physical sensation of a big system. “The goal isn’t to sound ‘current’. It’s to sound like us. And honestly, after so many years, you develop a kind of musical instinct.” The physical experience of the club remains irreplaceable. Videos can show the lights and the crowd, but they cannot replicate the feeling of a sound system at 4 a.m., surrounded by thousands. Music and events are designed first for the room; digital platforms exist only to draw people toward that moment. Creative disagreements in the studio are treated as signals rather than obstacles. After years of collaboration, differing perspectives usually mean a track has not yet fully revealed itself. Versions are tested, ears refreshed, and the dancefloor often provides the final verdict. “It is never about one person winning… The final decision has to be what makes the track stronger, and the contrast between our perspectives is often what gets it there.” Looking ahead, both platforms are entering a more open, dynamic phase. New music continues to arrive – the PLANET series and further HUMAN material among it – while the live experience expands through longer sets and varied environments. SECOND STATE remains the home for forward-thinking, system-ready techno; HUMAN pushes the journey itself. The two evolve side by side without pre

© 2026 True Underground. All rights reserved. True Techno 110: Introducing Praecox. Jerzy Przeździecki’s Thirty-Year Journey Through Industrial Electronics and Buchla Sound True Techno 110 arrives as both a mix and a map. Warsaw producer Jerzy Przeździecki, working across the names Praecox, Epi Centrum and his own, steps into the True Underground series with a recording that traces more than three decades of electronic music. Released in August 2026, the set gathers material from his principal projects and draws a clear line from the radical energy of 1990s Polish underground culture to the hardware-focused experimentation that defines his work today. Key Takeaways True Techno 110 was assembled by Jerzy Przeździecki as a purposeful passage through three production identities, successive eras of his career, and the shifting styles that formed his approach over thirty-plus years. Buchla modular instruments, the Triple Morphing Filter and carefully controlled acoustic feedback networks provided the core tools for the dense, unsettled textures heard on his Epi Centrum releases for Trapez and Affin. A new album under the name Jerzy Przeździecki, drawing on Detroit techno influences, is prepared for release on Poland’s IDO Records in autumn 2026. Picture Warsaw in the 1990s: the National Stadium market thick with residual tension, heroin a visible presence on the streets, organised crime simply part of the city’s fabric. At the same time, strobe lights cut through LSD fog in clubs, illegal parties flared in surrounding forests, and the Academy of Fine Arts operated as a permanent engine of rebellious ideas. Cassette players ran constantly in the studios. Students staged events that regularly escaped official oversight. From that charged atmosphere stepped Jerzy Przeździecki, a producer who has spent his career refusing simple labels, moving between the identities of Praecox, Epi Centrum and his given name. True Techno 110 captures that restless movement. The mix is not a standard selection of tracks but a carefully plotted route across thirty years of changing sound. I have to admit I spent quite a bit of time thinking about its concept, especially in the context of my work as a producer. In the end, I decided to create a musical journey through my three artistic identities, different periods of my career, and the styles that have shaped my sound over the years. In the mix you’ll hear tracks by Epi Centrum, Praecox, and Jurek Przeździecki. I hope this journey through more than 30 years of my musical evolution will be enjoyable both for you and for the listeners, while also giving them a chance to discover the different dimensions of my work. Post-communist Warsaw still carried the weight of the previous decades. Forest raves, specialist record shops and the Academy of Fine Arts together created an environment where radical thinking was everyday practice. Music filled every studio space. Inside that setting Przeździecki’s own direction took shape. Early listening had centred on punk and hardcore; those influences slowly opened onto Throbbing Gristle, Psychic TV, Nitzer Ebb and Cabaret Voltaire. The shift proved decisive. For the first time he felt compelled to produce original work and establish a personal voice. An Atari computer and a modest collection of machines became the tools for his first experiments. The Academy also housed Blue Velvet, a network of basement rooms that absorbed him for days at a stretch. Events ran throughout the week and drew overlapping communities. There he encountered Tromesa, already respected on the international psy-trance circuit. The partnership that followed produced Bigwigs and launched years of worldwide travel. Viewed from the present, the progression feels continuous rather than accidental. Punk, industrial, psy-trance and today’s experimental techno each added another stratum to a single ongoing narrative. He has never sought membership of any one scene. The search has always been for an individual vocabulary. The reason was very simple. Through Praecox, I had become strongly associated with psy-trance and psy-techno. That project was deeply rooted in the fluorescent aesthetics and culture of the psychedelic scene, which made it difficult for people to approach my newer music on its own terms. The music I was creating had very little to do with psy-trance anymore. So I decided to release my minimal techno work under my own name, Jerzy Przeździecki, while reserving Epi Centrum for the darker, heavier, and more experimental material. It was a way of bringing clarity to my artistic portfolio rather than separating my work into rigid genres. For me, these projects have always been different facets of the same artistic identity, not boxes defined by stylistic boundaries. Industrial music supplied a foundational attitude rather than a set of surface sounds. Its refusal to compromise, its roughness and its readiness to confront the listener shaped his entire method. Early Praecox pieces such as Mechanikum and Minigram drew on machine rhythms, excerpts from horror and science-fiction cinema, and prepared violins. Acoustic feedback has remained a constant technique. Reverbs, delays, analogue filters or distortion units can all be pushed into self-oscillation by returning output to input under controlled conditions, generating organised disorder. One ongoing collaborative project is constructed entirely around the generation and sculpting of feedback. The inheritance from industrial culture was philosophical: energy, a doctrine of creation, and the conviction that sound itself can function as experiment and confrontation. As the underground of the 1990s gave way to a more formal club network in the early 2000s, hearing his own productions played on club systems beside records by admired artists supplied both satisfaction and unforgiving feedback. Each night out became a lesson. He returned to the machines, adjusted, refined and advanced. Initial wider distribution came through Damon Wild’s Synewave and Jacek Sienkiewicz’s Recognition. Both figures had lived in Warsaw; contact was almost inevitable. The 2009 EP Loop Pool appeared on Recognition. Damon Wild later reached out after hearing the record, beginning a connection that continues. Support from labels known for rigorous selection confirmed the value of his personal approach and encouraged further development. True Techno 110 and the Practice of Multiple Identities Running several projects at once in the mid-2000s required no complex technical separation. Entering the studio was closer to choosing a destination. Once the direction (Epi Centrum or Praecox) was set, listening habits and the hunt for particular textures, rhythms and emotional registers shifted accordingly. More frequently the choice arose from improvisation itself: a sound or unexpected event would declare its own affiliation. Emotion was allowed to lead, because the strongest results tended to appear when rigid control was relaxed. Live performance methods have changed markedly. During the Bigwigs period, shows in Japan, Australia and South Africa relied on a 24-channel desk, samplers, synthesizers and a MIDI-linked computer, standard equipment for the era. Roughly fifteen years ago sets were almost wholly improvised; listeners rarely recognised material from the records and often requested more familiar pieces. Current practice uses two complementary systems. One pairs a compact modular setup with an Octatrack, the modular supplying unpredictability while the Octatrack holds loops and fragments that are continually reordered in real time. The other combines Octatrack and Digitakt II, presenting released tracks as stems while generating fresh sequences and arrangements on the fly. Both methods keep composition and spontaneity in productive tension. A concert should never simply replay the studio versions. Buchla instruments formed the central architecture for work released on Trapez and Affin. Even amid the expansion of Eurorack, Buchla retains a distinctive sonic identity and working method. The instrument often resists simple, conventionally tonal results more stubbornly than complex, abstract ones, a quality Przeździecki actively welcomes, allowing the system to suggest directions he would not have chosen deliberately. Epi Centrum material for Trapez leaned on the Triple Morphing Filter’s capacity for dissonance; pieces such as Exponential Density and Crepuscular carry that unstable character. Affin releases centred on the Buchla Music Easel, a more immediately navigable instrument that nevertheless preserves the essential Buchla voice. Material that reached Sven Väth’s Cocoon Recordings was never designed as straightforward club weaponry. By Epoxy in Burnout is restless and syncopated, content to wait for the precise moment in a set. Qwerty Poema moves in the opposite direction, more lyrical, reflecting a period of immersion in classical harmony. Both tracks had already been tested extensively in clubs and festivals. The sense of space and emotional weight found in Qwerty Poema continues to resonate in later work. Nina Kraviz’s трип label reopened the Praecox chapter for both new listeners and the producer himself. What had felt like a closed phase found fresh life. The music emphasises hypnosis, unpredictability and extended phrases that dissolve before full resolution. Bass construction differs from other projects: multiple independent layers typically supply weight, motion and harmonic or textural colour simultaneously. Precise attention to phase and frequency placement produces physical depth on large systems that a single bass line cannot match. Studio Methods, Improvised Collaboration and Continuing Direction Work with pianist and composer Andrzej Karalow rests on shared commitment to improvisation. Albums Wir and Pedestal’s Complement emerged from extended free sessions that were later shaped

© 2026 True Underground. All rights reserved. Petru KSS: Raw, Hypnotic and Pure on True Techno Podcast 109 Corsican electronic music producer PETRU KSS delivers an expertly curated 33-track set for True Techno Podcast 109, released on 24 June 2026. The broadcast integrates his performance philosophy with material from his debut album, Kolibri Live LP, recorded during a continuous live take at sunrise on a remote Corsican hilltop. His long play anchors his hardware-centric framework developed under the mentorship of Richie Hawtin at the University of Huddersfield. Key Takeaways PETRU KSS developed the THRiPPS performance system while holding the Richie Hawtin PhD Scholarship in Electronic Music at the University of Huddersfield. The debut album Kolibri Live LP acts as the central proof of concept for this ongoing live performance research. True Techno Podcast 109 performance compresses a multi-hour club timeline into a focused 60-minute intense progression. His core aesthetic framework WYHWYT completely removes digital screens and mouse interaction from the live workflow. The album’s raw multi-track recordings were engineered by Hannes Bieger and mastered by the Calyx engineering team to preserve performance volatility. PETRU KSS anchors True Techno Podcast 109 with a performance that highlights his hardware-focused sonic philosophy. This broadcast represents his deep technical expertise into standard club environments. By prioritizing narrative flow over standard club trends, his curated selection creates a direct link between his live energy and club dynamics. The performance directly expands upon his debut long-player, Kolibri Live LP, which was recorded under extreme environmental constraints. For the album, PETRU KSS carried his production setup up a remote Corsican hillside in total darkness to capture a continuous sunrise take. Managing heavy equipment in shifting temperatures and high humidity introduced random variables that actively shaped the recorded material. “The whole set is alive because I felt alive. Past the preparation, physical effort, low error margin related to time and setup, when the set starts, it would just be ‘finally, it’s time to enjoy!'” The structural backbone of this project relies entirely on THRiPPS. This structural methodology stands for Techno Hardware-centric, Real-time, Improvisation, Production and Performance Study. PETRU KSS refines this practical framework at the University of Huddersfield as the inaugural recipient of the Richie Hawtin PhD Scholarship. PETRU KSS: Raw, Hypnotic and Pure on True Techno Podcast 109 The academic endorsement provides a structured platform to examine how professional touring acts interact with hardware instrumentation. His workflow prioritizes real-time decision-making, which intentionally opens the performance to technical risk. Rather than correcting unstable analogue oscillators or unexpected resonance spikes, these elements remain embedded within the arrangements. This rejection of digital optimization defines his primary performance motto, WYHWYT. The acronym translates directly to What You Hear Is What You Touch, establishing a firm boundary against screen-heavy workflows. His physical configuration relies on machines like the Analog Rytm, Moog Minitaur, and Dreadbox Typhon to construct a comprehensive club environment without a computer mouse. “Those perfectly imperfect moments, slightly drifting oscillators and unexpected resonances, these are part of a live performance DNA, and represent a human risk that AI-driven music simply cannot replicate.” Following the initial live tracking phase, PETRU KSS delivered the multi-track files directly to Hannes Bieger for mixing. The tracking stems then went to Calyx for final audio mastering to guarantee competitive club translation. The finished material stands as a clear alternative to the polished studio outputs and automated arrangements defining the 2026 techno landscape. His neurodivergent traits serve as a critical functional asset during high-stakes hardware improvisation. The physical layout of separate control surfaces triggers a state of deep hyperfocus during complex sequences. Removing deep software submenus limits external distraction, satisfying the neurological requirement for physical motion and direct acoustic feedback. “Adrenaline triggers a state of hyperfocus for me and my neurodivergence allows me to forget everything else when I have a specific goal in mind, translating into laser-sharp focus and resilience. The physicality of a hardware setup reduces the friction and distraction I’d get from a mouse and a screen.” PETRU KSS balances these raw hardware improvisations with standard club curation, drawing on over two decades of traditional DJ experience. His contribution to True Techno Podcast 109 condenses an extended electronic narrative into a precise sixty-minute club window. The podcast documents an authentic human take, preserving real performance tension within a structured digital format. Techno Hardware-centric Performance Framework The continuous evolution of his imprint, Kolibri Space Shuttle Records, guides the broader narrative of the project. The label operates on thematic pillars of space aesthetics, cinematic sound design, and raw live tracking. This platform enables PETRU KSS to expand his academic findings into collaborative remix packages and community-led production contests. By inviting outside artists to reinterpret his raw stems, the label establishes a system of shared authorship within underground techno. High-profile support from long-standing industry figures provides crucial validation for his physical production theories. This ongoing industry exposure builds a foundation for his upcoming tour dates and future studio album concepts. The THRiPPS architecture will continue to guide his academic commitments and university lectures over the next eighteen months. This balanced combination of educational theory and direct club application establishes a functional blueprint for future hardware performers. As his tracking setups adapt, the central objective remains focused on human intuition over mechanical perfection. True Techno Podcast 109 Tracklist 01. US and SPARKLES – It Was Already In Me 02. NEW JACKSON – The Night Mail [POGO] 03. LANNY MAY – Everyday Objects [Maripoza] 04. JABBA 2.3 – What do you want [Sinchi] 05. PARDON MOI – Power to the People (Damon Jee Remix) [Roam] 06. GAT SDR – Undeniable truth 07. NIHAD TULE – Mitologem [Sloboda] 08. ALINEP – Werpa [Sleaze] 09. Helvetic Nerds – Senegal [PinkStar] 10. EXTRAWELT – Arctic Dead Run [Cocoon] 11. PHILIPPE PETIT – The Dub Sessions 04 [Knotweed] 12. SIMPLE SYMMETRY – Gilgamesh feat. Inigo Vontier [Disco Halal] 13. VKN MODULAR – Spacial Interferences [Planet Rhythm] 14. PETRU KSS – Trieuoppa [Kolibri Space Shuttle] 15. ANDERS – Defence Mechanisms [Devotion] 16. SCHEERMANN – Riba [Sammler] 17. KWARTZ – Contortion [Clergy] 18. PETRU KSS – Liminal Orbit (Alinep and Mica Remix) [Kolibri Space Shuttle] 19. ALLANA LETM – Dança Macabra [Grab The Groove] 20. SKUNGAL – The White Silence [Khazad] 21. FORMSHIFT – Push x Pull [HardElectronic] 22. SHEDZ – Reciprocator [Khazad] 23. GAT SDR – Unrelated Topic 24. PIG & DAN – Terrax [Drumcode] 25. CARL SHORTS & 909 RIOT – Mad WOW [Resilient] 26. LEN FAKI – BX 3 [Ostgut Ton] 27. SKUDGE – Air Walk [Skudge] 28. AYDN; BALROG – System Failure [Khazad] 29. ALEXANDER KOWALSKI – Live 2.2 [Cycles Music] 30. 909 RIOT – Know That [Khazad] 31. NESS – Uchronia [Rising] 32. PERT – Golazo [Vexed Grooves] 33. SAYTEK – The 90s Method (Live) [Danke] Petru KSS continues to develop his comprehensive performance framework through global club appearances and ongoing label showcases. Petru KSS FAQ Who is Petru KSS? Petru KSS is a London-based Corsican electronic music producer and the founder of Kolibri Space Shuttle Records. What does the acronym THRiPPS mean? THRiPPS stands for Techno Hardware-centric, Real-time, Improvisation, Production and Performance Study, which serves as an ongoing academic framework. Which artist awarded the PhD scholarship to Petru KSS? Richie Hawtin selected Petru KSS as the recipient of the PhD scholarship at the University of Huddersfield. Where was Kolibri Live LP recorded? The full album take was completed in a single continuous session on an outdoor hilltop location in Corsica at sunrise. What is the meaning of the WYHWYT motto? The acronym stands for What You Hear Is What You Touch, a performance philosophy built entirely on physical hardware controls. Who engineered the mixing stage for Kolibri Live LP? Hannes Bieger managed the mixing process for the analogue tracking stems, and Calyx executed the final mastering stage. What hardware instruments are used in the THRiPPS workflow? The mobile configuration utilizes an Analog Rytm, a Moog Minitaur, and a Dreadbox Typhon synthesis engine. { "@context": "https://schema.org", "@graph": [ { "@type": "NewsMediaOrganization", "@id": "https://www.trueunderground.one/#organization", "name": "True Underground", "url": "https://www.trueunderground.one", "logo": { "@type": "ImageObject", "url": "https://www.trueunderground.one/wp-content/uploads/2022/04/cropped-tu-logo.png", "width": 512, "height": 512 } }, { "@type": "BreadcrumbList", "itemListElement": [ { "@type": "ListItem", "position": 1, "name": "Home", "item": "https://www.trueunderground.one/" }, { "@type": "ListItem", "position": 2, "name": "Latest Electronic Music News", "item": "https://www.trueunderground.one/techno-podcast-archive/" }, { "@type": "ListItem", "positio

© 2026 True Underground. All rights reserved. Kadric True Techno Podcast Edition Links Bern’s Raw Underground Scene Swiss techno producer and Solid Dark label co-owner Cédric Mokus, performing under his Kadric moniker, has delivered the latest edition of the Kadric True Techno podcast directly from the underground circuit of Bern, Switzerland. This hard-hitting audio presentation showcases his evolution from early minimal rhythms into a heavy, peak-time sonic blueprint. By positioning raw hypnotic power at the centre of the mix, the execution addresses a growing regional demand for immersive, compromise-free dancefloor movements. Music became a core element of the producer’s identity during his school years, spent composing original works and performing in traditional bands. A pivotal club night in Bern redirected that creative focus entirely toward electronic frequencies. His initial venture into production arrived via the minimal tech project Krafteck, capturing international attention with releases on prominent labels including Reload Records, Hungry Koala, DC10, and Doubsquare Records. The early track Madness climbed to number 98 in the Beatport Minimal Techno chart, establishing a technical foundation that would later undergo a radical transformation. In 2019, Mokus closed the minimal chapter to launch his current identity. The transition reflected a calculated shift toward a weightier, more menacing sonic territory, mirroring the hardening preferences of the broader European club scene. “The transition was less about leaving something behind and more about a natural evolution of my artistic vision,” Kadric explains. “Over time, my taste shifted more and more towards darker, hypnotic and high-energy sounds. At the same time, the Swiss underground scene evolved, creating a growing demand for intense, emotional and immersive dancefloor experiences. Kadric gave me the opportunity to fully embrace that direction and express my creativity without limitations.” This pursuit of creative freedom is evident in his role within Solid Dark, an autonomous imprint co-founded by Kevin Stäger (Kevqube) and David Kawka, with further input from Juan Vasquez (Dee Jota). The label has rapidly expanded its footprint, issuing the comprehensive 13-track Hypnosis 1 compilation. Kadric contributed the heavy composition Parallax to the release, a production designed explicitly to push club monitoring systems to their structural absolute limits. “With ‘Parallax’, the dancefloor impact was the main focus from day one,” Kadric says, breaking down his studio architecture. “The foundation of the track is the relationship between the kick and the bassline. The goal was to create a deep, powerful yet controlled low-end that works on any sound system. Every percussion layer, texture and sound was carefully placed to support the hypnotic flow of the track.” Managing such dense frequencies requires strict discipline during the mixdown process, ensuring that sharp synth stabs cut through highly compressed sub-bass lines without causing acoustic fatigue. “The most important aspect is balance,” Kadric notes. “It is not about making elements louder, but about giving each sound its own space within the frequency spectrum. At the same time, it is very important to me that my productions remain recognisable and that listeners immediately know there is a Kadric track behind the sound.” The success of this approach is validated by his chart history and industry backing. His single Pressure reached number 82 on the global Beatport Techno charts, and his studio output routinely receives performance support from high-tier industry mainstays including Adam Beyer, Chris Liebing, Charlotte de Witte, Amelie Lens, Pan-Pot, Spartaque, T78, and The YellowHeads. Preserving Counter-Culture Mechanics on the Physical Floor The curation on the new podcast functions as an extension of the programming principles utilized by the Solid Dark collective. The crew balance intimate basement club showcases, such as their recent residency at Sous Soul Bern, alongside massive public spectacles including an upcoming 36-hour non-stop warehouse rave at the Berner Stadtfest on June 19th. This wide spectrum requires an advanced understanding of energy pacing and crowd communication. “The biggest difference is energy management,” Kadric observes. “In an intimate venue like Sous Soul, you can take more time, build tension slowly and guide the crowd deeper into a musical journey. At a festival, the communication with the audience needs to be more direct.” While maintaining a demanding schedule that includes balancing family life with running an online marketing agency and an e-commerce business, Kadric approaches music through a lens of strict purity. The selection across this podcast avoids passing internet trends, focusing instead on long-term narrative depth, soul, and structural pressure. It serves as a direct reflection of a career built on Swiss stages like X-TRA Zürich, Wankdorf Eventhalle, Gaskessel Bern, Hive Zürich, Elysia, and the Zurich Street Parade. “The DJ’s role is to embrace the atmosphere and guide the crowd through a journey,” Kadric states. “It is no longer about individual tracks, but about moments, emotions and shared memories.” Listen to all latest True Techno Podcast editions here. { "@context": "https://schema.org", "@graph": [ { "@type": "NewsMediaOrganization", "@id": "https://www.trueunderground.one/#organization", "name": "True Underground", "url": "https://www.trueunderground.one/", "logo": { "@type": "ImageObject", "@id": "https://www.trueunderground.one/#logo", "url": "https://www.trueunderground.one/wp-content/uploads/2022/04/cropped-tu-logo.png", "caption": "True Underground Logo" }, "sameAs": [ "https://www.facebook.com/trueundergroundtu", "https://www.instagram.com/trueundergroundtu", "https://soundcloud.com/trueundergroundone" ] }, { "@type": "BreadcrumbList", "@id": "https://www.trueunderground.one/kadric-hypnotic-hardgroove-true-techno-podcast-108/#breadcrumb", "itemListElement": [ { "@type": "ListItem", "position": 1, "name": "Home", "item": "https://www.trueunderground.one/" }, { "@type": "ListItem", "position": 2, "name": "True Techno Podcast", "item": "https://www.trueunderground.one/techno-podcast-archive/" }, { "@type": "ListItem", "position": 3, "name": "Kadric - Hypnotic & Hardgroove | True Techno Podcast 108", "item": "https://www.trueunderground.one/kadric-hypnotic-hardgroove-true-techno-podcast-108/" } ] }, { "@type": "NewsArticle", "@id": "https://www.trueunderground.one/kadric-hypnotic-hardgroove-true-techno-podcast-108/#article", "isPartOf": { "@id": "https://www.trueunderground.one/kadric-hypnotic-hardgroove-true-techno-podcast-108/" }, "headline": "Kadric - Hypnotic & Hardgroove | True Techno Podcast 108", "description": "Listen to the new Kadric True Techno podcast edition. 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© 2026 True Underground. All rights reserved. DEAS on Resisting Industry Commercialisation In an exclusive interview for Change Underground Polish techno producer DEAS (Karol Mozgawa) addressed the commercialisation of modern club culture and discusses his hardware production methodology. In this exclusive feature for true techno podcast 107, broadcasting from his studio base in Krakow, Poland to the global underground community. Greek-born and Poland-based, DEAS has carved an uncompromising path from local residencies at Smolna and Tama to international stages including Awakenings, Extrema, and E1 London. With a sonic footprint spanning CLR, ARTS, and Planet Rhythm, his output remains fiercely rooted in hypnotic grooves, live hardware interaction, and an uncompromised artistic vision. We sat down with DEAS to talk analogue obsession, the evolution of his sound, the expansion and occasional dilution of the global techno scene, and why authenticity still matters more than follower counts. Hardware Journeys and One-of-a-Kind Grooves DEAS has long held a reputation as a dedicated hardware specialist, though his relationship with machinery is more collaborative than dogmatic. While software plays a functional role in his workflow, the driving energy of his music stems from the tactile, unpredictable feedback loops of physical gear. He approaches music production not as a rigid programming exercise, but as an unfolding journey where the final track acts essentially as a natural side effect of the physical process. This hands-on methodology yields tracks and DJ sets with a distinct, lived-in texture; hypnotic, precise, yet continually inventive. It is groove-focused techno built for long-form dancefloor immersion rather than instantaneous algorithmic satisfaction. His recent Drifted Off EP on ARTS showcases this ongoing structural evolution, weaving spoken-word elements and subtle melodic layers into his signature driving atmospheres without altering his core artistic trajectory. Rather than attempting to reinvent the wheel, his studio work focuses entirely on introducing sharp internal surprises while staying true to an idiosyncratic musical vision. The Scene: Growth, Spectacle, and Soul The global expansion of techno has undoubtedly broadened the audience for underground sounds, a reality DEAS acknowledges as a major benefit for emerging artists and independent labels. However, this mainstream saturation brings an inevitable compromise: the transformation of club culture into visual spectacle. Across international circuits, events increasingly prioritise sensory distraction over sonic depth, shifting the focus away from the music itself. This commercial transition forces electronic music figures into a compromise between performance and digital marketing optimization. DEAS rejects the contemporary pressure to treat music as an optimized commodity, drawing a clear line between the responsibilities of a creator and those of a digital marketer. “My approach to art in general is not focused on constantly trying to make it ‘sellable’,” he notes. “I am not a content creator; I see myself as an artist. An artist creates what they feel… they don’t ask the audience what they expect from them.” This strict boundary dictates how he reads crowd energy across different territories. While some international hubs lean heavily into the curated show, others preserve the raw musical connection that initially defined the subculture. Fake Things and Scene Authenticity This tension forms the thematic core of his Vibrations EP on Planet Rhythm, highlighted by the pointedly titled track “Fake Things.” Released in early 2026, the project lands amidst ongoing industry debates regarding inflated social metrics, bought followers, and the rise of the manufactured profile. While DEAS leaves the track open to individual interpretation, the critique of a scene dominated by artificial engagement remains apparent. Despite the distortion of booking ecosystems by digital algorithms, he notes that experienced promoters are increasingly looking past superficial data. Metrics do not guarantee real-world ticket sales or dancefloor command, a reality that offers a baseline of hope for authentic talent. For emerging producers looking to establish themselves within this dense landscape, his perspective remains resolutely anti-formulaic. “It’s not a matter of giving anyone advice,” he states. “I do what I do because I can’t live any other way. So if you feel that kind of inner need, then go for it.” This intrinsic drive remains critical, particularly as studio craftsmanship and stage command demand fundamentally different technical strengths. Looking Forward The future of the genre relies heavily on localized resistance to corporate curation. DEAS finds inspiration not in major festival trends, but in independent collectives establishing intimate events in unconventional spaces, alongside the specialized developers building new production tools. For those seeking an entry point into his catalog, his work on Chris Liebing’s CLR or the hypnotic structures of “Geeks On Hubbard” serve as ideal foundations; best experienced with minimal external distractions, letting the machines dictate the narrative. In an era dominated by superficial noise, his focus remains entirely on the preservation of a grounded, analogue path. It is this refusal to compromise that ensures his grooves continue to cut through the industry layout. Check out other True Techno episodes here. Frequently Asked Questions What does the studio work of Deas focus on? Rather than attempting to reinvent the wheel, his studio work focuses entirely on introducing sharp internal surprises while staying true to an idiosyncratic musical vision. What is the perspective of Deas for emerging producers? “I do what I do because I can’t live any other way. 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© 2026 True Underground. All rights reserved. The Psychology of the Reset: Juheun’s Mission for the Underground Juheun’s trajectory is a study in creative survival. After over a decade performing as DJ Tranzit in the American house scene, he faced a choice: continue playing tracks he didn’t like to satisfy a commercial bottle-service culture, or return to the “faceless” roots that originally defined his love for electronic music. His return to techno was a reclamation of mental health and artistic clarity, a move away from the “noise” of social media influencers and toward the raw, mechanical soul of the machine. “With so much noise these days coming at us from social media, influencers, and AI… it’s very easy to get lost and forget why we are here in the first place. It’s always been very important to stay grounded and focus on the music. Sometimes the easy way out is to follow trends, but that doesn’t do anything for you in the long run.” This grounding is maintained through a rigid discipline system. In an industry that demands constant output, Juheun relies on a “dialled-in schedule” to prevent the burnout that comes from constant comparison. He views the studio as a laboratory where he controls electricity—converting vibrations into futuristic frequencies. Yet, he is quick to identify the trap of repetition; for Juheun, innovation isn’t just about adding new sounds, but knowing when to strip everything back to its fundamentals. “Learning to become a good producer is knowing when to stop, and knowing when its time to shift gears or even give up on an idea. One of the best studio tips I’ve gotten is to start deleting parts and pieces when you hit a dead end. Even just muting channels and stripping it all back down to its fundamentals have done wonders.” Juheun’s perspective on the “business layer” of the industry is equally uncompromising. He views the current ecosystem as one that has devalued the art form through over-accessibility. From over-produced events with “a million lasers” to the “AI-generated slop” infiltrating playlists, he sees a desperate need to return value to the music itself. His solution is a structural reset: raising the cost of music to force a more curated, appreciative relationship between the listener and the artist. “We need to bring value back to music. I think its time to raise the prices on music a little. Even doubling the cost of a single song from $0.99 to $2.00 can make a huge difference… if we are not taking care of the musicians and producers who create the music, then we would be left with nothing but generic AI generated slop.” His mix for True Techno 106 is an extension of this mindset—a pursuit of “timeless techno” that stands apart from the peak-time trends. By weaving his own unreleased live IDs, like ‘Lets Dance’, with the deep, hypnotic selections of Phil Berg and Modeselektor, Juheun provides a glimpse into a future where the music—not the brand—is the catalyst for connection. It is a reminder that once the current bubble bursts, the underground will remain, sustained by those who were there for the right reasons all along. “Techno has always been a bit mysterious to me. Back in the day, it was a song title and an obscure name… it was really just about how hot the record was instead of the reverse. This is what makes it so special. Listen to the music first.” Tracklist Civil Servant – Into The Unknown (Juheun Remix) Troy – Ishi No Medama (Original Mix) Regent – Arcane (Original Mix) Toobris – Tomorrow is Gone (Original Mix) Modeselektor – Blockchain (Original Mix) Juheun – Lets Dance (Original Mix) Hertz, Oscar Escapa – Eternal Groove (Original Mix) Khabiar – It Depends ON (Original Mix) Oscar Sanchez – Selective Memory (Original Mix) Phil Berg – Sappho (Original Mix) Frank Biazzi – Open Your Eyes (Juheun Remix) Kulage – Nord (Original Mix) Simone Zino – Momentum (Original Mix) Klint – Calibre (Original Mix) Listen to all editions of True Techno  True Techno FAQ Which tracks did Juheun use in his True Techno mix? Juheun’s mix features a blend of high-precision techno including his own remix of Civil Servant’s ‘Into The Unknown’, his unreleased live track ‘Lets Dance’, and his remix of Frank Biazzi’s ‘Open Your Eyes’. The set also incorporates tracks from Modeselektor, Phil Berg, and Oscar Sanchez. What is Juheun’s philosophy on the current state of techno? Juheun advocates for a return to the “faceless” roots of techno, where the music carries more weight than the brand or social media presence. He believes in bringing value back to music by potentially increasing prices for digital singles to support independent artists and curb the influence of generic, AI-generated content. How does Juheun approach studio production and sound design? Juheun employs a rhythm-centric, tactile approach using hardware like the Moog Sub 37. He treats synthesizers as tools to control electricity and convert it into frequencies, often stripping tracks back to their fundamentals when a creative wall is hit to maintain a raw, hypnotic sound. { "@context": "https://schema.org", "@type": "BreadcrumbList", "itemListElement": [{ "@type": "ListItem", "position": 1, "name": "Home", "item": "https://www.trueunderground.one/" },{ "@type": "ListItem", "position": 2, "name": "Techno Podcast Archive", "item": "https://www.trueunderground.one/techno-podcast-archive/" },{ "@type": "ListItem", "position": 3, "name": "Juheun - True Techno 106", "item": "https://www.trueunderground.one/juheun-true-techno-podcast-106/" }] } { "@context": "https://schema.org", "@type": "PodcastEpisode", "name": "True Techno 106: Juheun | Robotic Soul & Underground Philosophy", "headline": "Juheun Delivers a Raw, Hypnotic Masterclass for True Techno 106", "description": "Juheun takes over the True Techno Podcast 106, delivering a mix of raw, hypnotic energy. 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© 2026 True Underground. All rights reserved. Ilona Maras – True Techno 105: Discusses Her Hive Residency and Narrative Energy Ilona Maras anchors this edition of True Techno, showcasing the clinical technicality and raw emotional weight that have fuelled her trajectory through the underground. Based in Zürich and maintaining a residency at the influential Hive club, Maras provides an exclusive look into her creative process following her recent EP on MJA the Vision. Her sound – a sophisticated blend of Eastern melodies and raw acid textures – has earned her the backing of industry heavyweights like Richie Hawtin and positions her as a definitive voice in contemporary techno. For Maras, the evolution from a hobbyist to a central figure in the scene was a gradual realisation of purpose. The transition occurred as she noticed her focus shifting towards the minutiae of performance and the psychological impact of the booth. “It wasn’t one big moment, more a quiet realisation that kept getting louder over time,” she reflects. “I noticed how deeply I cared about every detail, every transition, every reaction from the crowd. At some point, it became clear this wasn’t something I did for fun after work; it was how I experience the world.” The Hive Residency: Illona Maras Technical Education The Hive in Zürich serves as both a creative anchor and a testing ground for Maras’ output. Her residency has required her to navigate diverse time slots and floors, a process that demands an acute level of crowd empathy and technical adaptability. This experience has shaped her ability to work a room without relying on cheap tropes or forced energy. “You can’t force energy in that space; you have to read the room and build it slowly, earn trust step by step. It taught me that sometimes less is more, and that people will go with you if you’re honest, not if you’re trying to impress them.” – Ilona Maras This grounded approach extends to her high-pressure performances, including playing a set at Street Parade while seven months pregnant – a moment she describes as a powerful convergence of her personal life and professional commitment. MJA the Vision and the 90s Techno Influence Her latest work on MJA the Vision, released on 06.03.2026, leans into the contrast between tension and release. Inspired by the industrial geometry of the Prague train station, the EP captures a specific 90s techno aesthetic while maintaining the modern clarity required for big-room impact. Maras describes the production as an exercise in intuition over calculation. “The EP is very much about contrast, tension and release, control and letting go. I got inspired while visiting Prague; I was in a room overlooking their beautiful train station, and something about that view gave me a strong 90s feeling. It made me want to recreate a bit of that 90s techno vibe in my own way.” – Ilona Maras Honesty as a Production Standard Since her debut on Get Physical with Existe, Maras has prioritised instinct over perfectionism. This philosophy has seen her tracks championed by Richie Hawtin and released on labels including Volta, We Are The Brave, and Filth On Acid. By refusing to “customise” music for specific labels, she has maintained a cohesive identity that bridges the gap between underground depth and peak-time function. Her focus now shifts towards her own imprint and a commitment to innovation that ignores the saturation of the modern trend cycle. “I’d love to push even more into innovation… and to ignore the noise around me as much as possible,” she says. “Every time I manage to do that, those tracks usually work the best.” As Ilona Maras continues her tour cycle, True Techno 105 serves as a testament to an artist who values real connection over fleeting metrics. Her sound is built for high-intensity immersion, striking the balance between visceral, dancefloor-focused energy and complex melodic progression.   View this post on Instagram   A post shared by ILona Maras (@ilonamaras) Ilona Maras True Techno 105 Tracklist 1. Ben Sims – Snapshot 99 (ANNE Remix V1) [Hardgroove] 2. Sola Contagio – Mutatio 02 (Original Mix) [Ketra Records] 3. Ktrsx – Apocryphal Orchestra (Original Mix) [SLASH] 4. Vinicius Honorio – Piano Thing (Original Mix) [Mind Medizin Records] 5. Joey Beltram – Energy Flash (Original Mix) [R&S Records] 6. dogheadsurigeri – Lead Astray (Original Mix) [SLASH] 7. Josh Wink, Size 9, Marco Faraone – I’m Ready (Marco Faraone Extended Remix) [Factory 93 Records] 8. Akona – Acid Diva (Extended Mix) [OFF Recordings] 9. Gockel – Push the Pace (Original Mix) [Special Series] 10. Ilona Maras – Midnight Talks (Original Mix) [MJA The Vision] 11. Clif Jack – Konnekting Your Mynd (Original Mix) [MJA The Vision]11. 12. Ilona Maras – Walking the Clouds (Original Mix) [MJA The Vision] 13. KI/KI – Don’t Stop (Emotional Mix) [SLASH] 14. DVS1 – Black Russian (Original Mix) [Klockworks] Discover all True Techno episodes here { "@context": "https://schema.org", "@graph": [ { "@type": "PodcastEpisode", "@id": "https://trueunderground.one/ilona-maras-peak-time-techno-mix-true-techno-105/#podcast", "name": "True Techno 105: Ilona Maras", "description": "Ilona Maras discusses her residency at Hive Zürich, her latest EP on MJA the Vision, and her unique blend of Eastern melodies and raw techno energy.", "datePublished": "2026-03-25", "url": "https://trueunderground.one/ilona-maras-peak-time-techno-mix-true-techno-105", "partOfSeries": { "@type": "PodcastSeries", "name": "True Techno Podcast", "url": "https://www.trueunderground.one/techno-podcast-archive/" }, "associatedMedia": { "@type": "AudioObject", "contentUrl": "https://soundcloud.com/trueundergroundone/ilona-maras-peak-time-techno-mix-true-techno-105" } }, { "@type": "NewsArticle", "mainEntityOfPage": { "@type": "WebPage", "@id": "https://trueunderground.one/ilona-maras-peak-time-techno-mix-true-techno-105" }, "headline": "True Techno 105: Ilona Maras on Narrative Energy and Hive Zürich", "image": "https://www.trueunderground.one/wp-content/uploads/2026/03/Ilona-Maras-cover.jpg", "datePublished": "2026-03-25", "dateModified": "2026-03-25", "author": { "@type": "Organization", "name": "True Underground Editorial Team", "url": "https://change-underground.com/contact/" }, "publisher": { "@type": "Organization", "name": "True Underground", "logo": { "@type": "ImageObject", "url": "https://change-underground.com/wp-content/uploads/cu-logo.png" } }, "about": { "@id": "https://trueunderground.one/ilona-maras-peak-time-techno-mix-true-techno-105/#podcast" } }, { "@type": "FAQPage", "mainEntity": [ { "@type": "Question", "name": "What is the focus of True Techno 105?", "acceptedAnswer": { "@type": "Answer", "text": "True Techno 105 features Swiss-based artist Ilona Maras, exploring her transition from Hive Zürich resident to a global techno authority." } }, { "@type": "Question", "name": "When was Ilona Maras' MJA the Vision EP released?", "acceptedAnswer": { "@type": "Answer", "text": "The EP on MJA the Vision was released on 06.03.2026." } } ] } ] } The post Ilona Maras – Peak Time Techno Mix | True Techno 105 appeared first on True Underground.

© 2026 True Underground. All rights reserved. { "@context": "https://schema.org", "@type": "PodcastEpisode", "mainEntityOfPage": { "@type": "WebPage", "@id": "https://trueunderground.one/simone-zino-raw-industrial-techno-mix-true-techno-103" }, "name": "True Underground Podcast: Simone Zino on the Detroit-Milan Connection", "headline": "Simone Zino: Translating Milanese Underground to Kevin Saunderson's KMS", "description": "In this episode, Simone Zino discusses his #1 Beatport success, his 'Back To The Old School' EP on KMS, and the philosophy of raw techno.", "image": "https://www.trueunderground.one/wp-content/uploads/2026/03/Simone-Zino.jpg", "author": { "@type": "Person", "name": "True Underground" }, "publisher": { "@type": "Organization", "name": "True Underground", "logo": { "@type": "ImageObject", "url": "https://www.trueunderground.one/wp-content/uploads/2022/04/tu-logo1.png" } }, "datePublished": "2026-03-10", "duration": "PT1H15M21S", "url": "https://trueunderground.one/simone-zino-raw-industrial-techno-mix-true-techno-103", "partOfSeries": { "@type": "PodcastSeries", "name": "True Underground Podcast", "url": "https://www.trueunderground.one/techno-podcast-archive/" } } { "@context": "https://schema.org", "@type": "FAQPage", "mainEntity": [{ "@type": "Question", "name": "What does Simone Zino say about the influence of Detroit Techno on his sound?", "acceptedAnswer": { "@type": "Answer", "text": "Simone highlights the connection between machine-driven rhythms and human feeling as the primary link between his Milanese roots and the Detroit legacy at KMS." } }, { "@type": "Question", "name": "How does Simone Zino balance his classical piano background with 142 BPM techno?", "acceptedAnswer": { "@type": "Answer", "text": "He uses subtle harmonic layers like chord stabs and atmospheric pads in the background to satisfy his musicality without disrupting the percussive floor-oriented groove." } }] } How Simone Zino Translated Milanese Underground Grooves to Detroit’s Legendary KMS Records Milanese producer Simone Zino is cementing his status as a heavyweight in the contemporary techno circuit this March 2026, dropping his highly anticipated Back To The Old School EP on Kevin Saunderson’s legendary KMS Records. Fresh off a Beatport #1 chart-topper with “Signals” and a massive 2025 that saw him tear through Joseph Capriati’s Metamorfosi at ADE and join the prestigious Tempo Management roster, Simone Zino is bridging the gap between his classical roots and peak-time dancefloor artillery. For an artist with nearly two decades in the trenches – Simone Zino is cutting his teeth with a 2008 residency at Bolgia and sharing stages with titans like Len Faki, Nina Kraviz, and Chris Liebing – cracking the code to a Detroit legacy label required looking inward. Rather than adopting an artificial persona, Zino leaned heavily into the stripped-down, hypnotic tension that defines his native scene. “Growing up in the Milan underground shaped my approach to techno a lot,” Zino explains. “Over the years I developed a language focused on groove, raw drums and a balance between energy and soul. That connection between machine-driven rhythms and human feeling is something that always fascinated me in Detroit techno. When I started refining that approach in my productions, the connection with KMS felt very natural.” Following up a massive #1 hit can paralyze a producer, especially when the next release is stamped with the KMS logo. Yet Zino bypassed the anxiety of the sophomore slump by isolating himself from industry noise. “Honestly I didn’t want to think too much about the pressure of following a #1 record,” he says flatly. “For me the focus was simply staying true to my sound and respecting the identity of KMS. So instead of chasing another hit, I concentrated on groove, raw energy and that classic Detroit feeling that inspired the EP.” The Architecture of Tension Zino’s background in piano and composition acts as a hidden skeletal structure within his current 142 BPM, floor-oriented output. He recently collaborated with fashion designer Chiara Amico, seeking to visually represent his sound through a lens of “industrial elegance” – metallic textures paired with sharp tailoring. This visual ethos mirrors his studio process perfectly. “I like the idea of combining something raw and industrial with something elegant and precise. In the EP I tried to translate that concept into sound: metallic textures, strong drum grooves, but also clean structures and attention to detail. It’s that balance between rough energy and refined sound design.” While the aesthetic leans industrial, the classical training still demands an outlet. Simone Zino achieves this through micro-arrangements rather than sweeping lead lines. “Even in percussive, floor-focused tracks I try to bring subtle harmonic layers in the background,” he details. “It can be small chord stabs, atmospheric pads, or tension in the arrangement – just enough to satisfy that musical side without taking away from the groove.” Despite the “Old School” moniker of the EP, Simone Zino isn’t relying on banks of dusty analog hardware to emulate the past. He embraces a modern digital workflow to achieve his gritty textures. “For this EP I mostly worked digitally,” he reveals. “I like taking a single sound and reworking it through sampling techniques—manipulating it, layering it, reshaping it. That’s a method I’ve been using a lot lately, and it lets me honor the old-school spirit in a fully modern workflow.” Simon Zino: Escaping the Algorithm As the co-founder and curator of ROOM360, Simone Zino strictly defines the parameters of his environment. There is a distinct division in his mindset when crafting a deep, hypnotic journey for his residency versus engineering a peak-time weapon. “When I produce for peak-time, I focus on energy and impact – strong drums, driving basslines, and immediate tension,” he notes. “For ROOM360, since I curate it myself, I go for a more groove-driven journey, but in general I produce mostly what I actually play – around 90% of the time.” This commitment to authenticity insulates him from the highly curated, social-media-driven “Business Techno” circuit. His focus remains entirely on subcultural rebellion. “I always focus on the music first, not trends or clicks,” he asserts. “My sets and residency are about creating a journey, exploring underground sounds, and keeping that raw, rebellious energy alive – away from the usual social media formulas.” That raw energy translates globally. With a return tour to India scheduled for March 2026, Simone Zino points out the stark differences in global dancefloor dynamics. “I found a very genuine approach to clubbing in India—people there are open, curious, and fully present on the dancefloor.” As Back To The Old School prepares to hit the digital shelves, it serves as more than just another notch on a booming discography. For Zino, the project operates on two distinct levels. “I see it as a bit of both,” Simone Zino concludes, reflecting on his dual intentions. “It’s an homage to the roots that shaped me, but also a personal statement on the energy, groove, and rawness I think techno needs to keep alive today.” VIEW ALL TRUE TECHNO EDITIONS The post Simone Zino – Raw Industrial Techno Mix | True Techno 104 appeared first on True Underground.

© 2026 True Underground. All rights reserved. DJ Morgan, producer and founder of HardNRG.com – one of the first major online platforms to promote hard house across the United States, showcasing exclusive sets from leading artists around the globe. His own productions and DJ mixes blew up his international profile, seeing him tour extensively and earn a reputation as a highly influential figure in the early US hard dance movement. “When I went to my first rave, it all came together – a scene developing before my eyes, opening me up to entirely new ways of thinking about music,” he recalls. The 1990s US dance scene was raw, experimental, and fiercely inclusive. “Everyone was welcome. Positive vibes came in, and out went the punk rock and industrial angst,” says DJ Morgan. While Europe evolved into a vast festival culture, America’s underground stayed stripped-back and communal. “Out of a thousand records, you might find twenty or so dedicated to harder styles,” he remembers. The arrival of early internet record hubs like Juno Records and Banging Tunes finally gave him access to the European records that would later inspire his mission. In 1999, DJ Morgan launched HardNRG.com, one of the world’s first free online mix platforms – years ahead of SoundCloud or Mixcloud. “The goal was simple: get mixes from the best artists across Europe to ravers for free, and help spread the music across America.” The site became a global hub for hard house mixes. It featured some of the era’s biggest names, including Andy Farley, Anne Savage, BK, Captain Tinrib, Dynamic Intervention, Lisa Lashes, Karim, Lisa Pin-Up, Nick Sentience, Rodi Style, and Superfast Oz. Building on that success, DJ Morgan co-founded Lotek Records, releasing tracks from Defective Audio, Dynamic Intervention, Pranksterz, Rubec, Chris C, and Madam Zu while producing his own material for Lotek and releases on Kaktai & DIP Records, including No Law, Unknown Technique, and Severe Trauma, rooted in harder-edged trance and NRG. DJ Morgan helped pave the way for the early hard dance scene in San Francisco. “We started a club night and threw several underground parties while helping others in the scene put on events,” he explains. “Many of our DJs went on to play across North America and internationally. I had a great run of it myself, playing regularly across the US and Canada, and as far as the UK, Finland, Japan, and Australia.” In parallel, he built a career in the video game industry, working with Activision, Sega, EA, and Blizzard on projects for major franchises including Command & Conquer and Warcraft. “My background in music allowed me to immediately speak with audio designers and engineers to hit the ground running,” he says. Now based in Thailand, Morgan has returned to DJing with a renewed focus, performing across Techno, Hard Techno, Hard Trance, and Psy-Trance. “I play what I like, rather than chasing what is popular. This way, I’m playing the music I love and am excited to share with everyone.” With upcoming gigs in Bangkok, before heading to Pattaya and Phuket, the former US hard house pioneer continues to connect with audiences by combining the underground energy of his past with today’s global hard dance revival. Soundcloud https://soundcloud.com/djmorgan303 Instagram @djMorgan303 Website: www.djMorgan.com The post a rel="nofollow" href="https://www.trueunderground.one/dj-morgan-true-tec

© 2026 True Underground. All rights reserved. Italian-born and London-based, Mattia Turchetti, known as M.F.S: Observatory, has spent the past decade refining a sound that sits between engineering precision and raw club instinct. His productions and DJ sets balance M.F.S: Obervatory’s hypnotic repetition with emotional restraint, merging the discipline of a sound designer with the pulse of a dancefloor tactician. “My first musical memories come from home,” he begins. “My brother introduced me to electronic music, while my parents played Italian artists like Pino Daniele, Fabrizio De André, and Francesco De Gregori. That mix of emotion, melody, and rhythm shaped my ear from an early age. I started experimenting with drum machines and early software, fascinated by how rhythm could control a room. That curiosity slowly evolved into DJing and then producing my own music.” The alias came later, carrying both geographical and philosophical weight. “I’m from a village facing Mount Vesuvio, where the observatory stands, and that idea of watching and listening from above felt powerful. We started as a trio, but over time it became my solo project. The name stayed because it reflects how I approach music: always observing, studying, and experimenting with sound.” Growing up in Naples meant being immersed in a rhythmic culture where groove is everything. “I grew up surrounded by the house and tech-house scene in Naples, which has a strong groove-based culture. Later, after moving to London and traveling through Europe, I was drawn toward deeper and more hypnotic techno. Artists and labels that build emotion through minimalism and tension influenced me most; I’ve always been attracted to music that pulls you in slowly.” Turchetti’s formal background in sound design gave structure to that instinct. He studied Music and Sound Design in London, followed by a master’s in Sonic Arts at Goldsmiths. “Sound design taught me to treat frequencies as materials and to shape space, not just fill it,” he says. “Every sound has a role and emotional weight. I think a lot about how frequencies interact and how to use silence and dynamics to build tension – both in production and in a DJ set.” His early career took shape through small underground labels that supported his first releases before his name began appearing on international imprints. “It started with small underground labels that believed in my early music. Those first releases helped me build connections and confidence. As my sound evolved, international labels began to notice, and my tracks started reaching new audiences across Europe. Playing abroad and hearing my music in different cities were important milestones that showed me this could grow into a real career.” That career has now stretched across respected outlets such as Kneaded Pains, Second State, Illegal Aliens, Diffuse Reality, and his own Observatory Music, which he uses as a base for experimentation. Releases like Into The Matrix, You Get Me Flustered, and Antares mark his evolution toward a deeper, more spatial sound. “It has become more textured and focused,” he explains. “Early on I was driven by pure rhythm and energy, while now I explore space, layering, and atmosphere. My setup with the Akai Force, Elektron Syntakt, Elektron Digitone II, Eurorack, and Ableton Live helps me capture both structure and spontaneity. Recently, I’ve been experimenting with Baby Audio’s Tekno plug-in, which delivers a powerful punch on drums when combined with the analog tones I create on the Elektron machines.” His process starts from rhythm and grows outward. “I jam on the Syntakt or Digitone II until I find a groove that feels alive. From there I record into Ableton Live and arrange using the Akai Force as the main hub. The Eurorack adds evolving atmospheres and subtle mo

© 2026 True Underground. All rights reserved. Italian DJ, producer, and label head Marco Faraone has long stood as a bridge between the underground and the global techno mainstage. From the smoky intimacy of his early club nights to his current status as a festival fixture and respected figure on labels like Rekids and Drumcode, Marco Faraone’s path has been defined by instinct, authenticity, and a refusal to compromise. Speaking to True Underground, he reflects on his roots, his ethos, and the shifting landscape of techno. Marco Faraone’s earliest memories of the scene are steeped in the visceral energy of small, dark clubs – rooms heavy with smoke, sweat, and liberation. “There was nothing contrived, just people living the music as an act of freedom,” he recalls. “No one judged you; only the sound and what it transmitted mattered. That pure connection between music and people overwhelmed me. It was a revelation, and since then I’ve never stopped chasing that feeling.” As the culture expanded, Marco Faraone watched techno evolve from underground movement to global industry. “The scene has changed immensely – from niche culture to a global phenomenon. Today it’s more accessible, but also more dispersed. There’s more professionalism, but less risk and experimentation.” For him, remaining grounded in that raw, instinctive essence is crucial. “Techno has never been a trend but a free and ever-evolving language.” His rise to international recognition came gradually, built on consistency rather than calculation. “It wasn’t a single moment but a path,” he explains. “When people started recognising my musical signature – not just the name on the lineup – I realised something had changed.” Maintaining credibility while performing across high-profile stages, he says, comes down to intent. “The underground isn’t a place; it’s a state of mind. If you play with sincerity, the audience feels it.” This belief in authenticity forms the foundation of UNCAGE, Faraone’s label and creative platform. Conceived as a space for freedom and experimentation, it became both a laboratory and a manifesto. “UNCAGE gave me the chance to express myself without limits,” he says. “It’s a space where I can experiment, make mistakes, take risks, and answer to no one. It’s the most honest and instinctive part of me.” UNCAGE’s mission, he adds, is to keep that spirit alive – a commitment to freedom, research, and authenticity. Every release must carry meaning. “We select artists who share that vision, even if they’re not the easiest to promote. UNCAGE is a home for those who want to say something true – without filters or compromise.” Collaboration plays a central role in his evolution, pushing him toward new sonic and emotional dimensions. “Every artist brings a different world,” he says. “From many collaborations, I’ve learned the importance of space and silence. Sometimes removing is more powerful than adding. Letting the sound breathe – it’s a more mature and profound way of producing music.” Despite the genre’s current fragmentation, Marco Faraone sees vitality and potential in techno’s future. “There’s a lot of music, but not always a lot of substance. The future belongs to those who unite authenticity with innovation while staying true to the roots. Techno shouldn’t become a formula – it must remain a free and visceral expression.” Balancing global recognition with artistic integrity is, for Marco Faraone, an act of discipline and self-awareness. “I don’t chase trends; I evolve while staying true to my vision. Success, if it comes, should be a natural consequence – not the goal.” Founding UNCAGE, he says, was the defining decision of his

© 2026 True Underground. All rights reserved. Kashpitzky is a Tel Aviv–born, Berlin-based artist reshaping the house-influenced techno sound. As one of the most in-demand producers of the new wave movement, he blends old-school grit with modern drive, crafting a style that is rough, fast-paced, and unmistakably his own. His releases have landed on respected labels including Shlomi Aber’s Be As One, James Ruskin’s Blueprint, Dax J’s Monnom Black, and the legendary Token. Difficult to pigeonhole, Kashpitzky’s vision of techno balances energy with depth—groovy yet raw, often weaving broken beats with organic textures. The post Kashpitzky | True Techno Podcast 99 appeared first on True Underground.

© 2026 True Underground. All rights reserved. Flug (Sebastián López) is an Argentine DJ and producer who has become a prominent figure in the global techno scene, known for his powerful kick drums, sharp hi-hats, and deep basslines. With unparalleled discipline in the studio and a humble, passionate approach, he has developed a distinctive sound that is easily recognizable within the scene. He has performed at prestigious clubs like Fabrik Madrid, Womb Tokyo, and Brunch Barcelona, and at international festivals such as DGTL, MAYDAY, CRSSD, and Nature One. His carefully curated sound has captured the attention of industry heavyweights, releasing music on influential labels such as CLR, Trip, Soma, JAM, MORD, and DCLTD. His album In Safe Hiding received a perfect 10/10 rating from the prestigious German magazine Mixmag for its emotional depth. Since his first EP release in 2007, he has accumulated over 100 releases, including collaborations with renowned artists like Grammy-winner Dubfire and the respected The Advent. He has also remixed tracks for major names such as Slam, Nicole Moudaber, Indira Paganotto, Marco Bailey, Renato Cohen, Marco Faraone, Mark Broom, Coyu, among others. Flug is an active figure in the vibrant cultural scene of Barcelona, where he currently resides. He co-founded the influential brands Insert and Rezonanz, which made a lasting impact in the city, and leads his own streaming series Flug Invites in collaboration with Bridge 48, where he also serves as brand ambassador. Currently, he is the number 1 artist in the raw deep hypnotic techno genre on Beatport, and his track The Piano is the best-selling track of all time in this category, holding the #1 spot for an entire year. In 2020, he launched his own label Existentia, where he continues to push his innovative vision of techno. True to his style, Flug transcends boundaries, often exploring bolder sounds such as electro and ambient, constantly expanding the limits of his creativity. The post Flug | True Techno 98 appeared first on True Underground.

© 2026 True Underground. All rights reserved. Lady Tazz projects the kind of high-impact, provocative energy that disrupts the status quo. Finding the sensual sweet spot in hypnotic, impactful techno, her sound is a perfect balance of peak-time energy and playful intrigue deployed to take the dance deeper and incite liberation amongst everyone in earshot. Born in Montreal, where she was originally schooled, a Tomboy at heart, she was the eldest in her family, of all daughters, her family moved back to Bangladesh when she was 9, so her father could teach her how to run their family business, shadowing him day to day, she learned at an early age. When she was 19, Tazz returned to Toronto where she finished her undergraduate degree in Psychology and Physics, alongside a scholarship for tennis where she played for the University’s team for 3 years. It was during this time she was able to travel to Europe, and discovered cities including London and Berlin, and like most teenagers, found clubbing and nightlife becoming a regular part of lifestyle outside of studies. She was a regular at Guverment Club in Toronto, and still claims this to be one of the best night clubs she has ever been to. It was at this club she learned about DJ’s with their international acts, as well as really started to fall in love with everything about the music culture. Taking over the family business at the young age of 22, promoted a move back to Bangladesh, it was at this same time she started her own weekly radio show, that shortly became one of the biggest in the region, with over a million listeners. It opened the world of radio to her, where she invited top celebrities, musician and politicians. Raised by a traditional family, a career as a DJ was not deemed a respectable career choice, so her trips to London were kept a secret, where she started to play a lot of illegal raves in the city in the 2000’s. She felt conflicted emotions about rave culture, as she knew the backlash of making these choices would be considered disrespectful, so quit the radio and decided to make something more official, Mind Medizin was born. Mind Medizin’s event series soon started to take shape and generate a following, with shows starting out in South America, Mind Medizin events have grown to become a global enterprise, sharply curated by Tazz to feature fellow techno provocateurs well outside of the identikit trappings of business techno. Bathed in red light, front by performance artists clad in steel and leather, these events are hardwired towards a feverish kind of freedom. She has since developed the brand into a label, which serves as a natural vehicle for her creative output. Tazz is unapologetic in her disregard for the so-called rules of modern techno, because she has to break with tradition to engage with the music in the first place. She loves her Bangladeshi heritage but is also realistic in the societal limitations of what she can achieve there. The stakes were high, but Tazz embraces risk to realise her vision. An artist who is working tirelessly in pursuit of pleasure and profound sonic transcendence. The truest art demands to exist against all odds, and Lady Tazz celebrates her hard-won liberation with no room for compromise. The post LADY TAZZ | True Techno Podcast 97 appeared first on True Underground.