Rødhåd interview: Dystopian future

Mike Bierbach aka Rødhåd began DJing while still a teenager, organising small outdoor parties on the outskirts of Berlin. Slowly but surely he made he way into happenings more central to the city's techno scene as his talents as a mixer plus his distinct percussive and dub influenced sound were recognised by some of Berlin's bigger establishments.

His Dystopian club night moved round the city from 2009 and now traverses the world. In 2010 he was first invited to play at the city's Berghain and has been invited back regularly. In 2012 he launched a record label named after his club night Dystopian in order to release his own material plus fine techno, house and electronica from other artists such as Daribow, Stone Edge, Armitage and Distant Echoes.

His growing reputation earned him invitations to DJ across the globe, in every major city and at every major festival where you'd find techno music.

By 2015 the demands on his time from music were such that he ceased pursuing a concurrent path into architecture and focussed on music full time. This enabled him to undertake dates across the United States and concentrate on studio work. The results of the extra time spent producing were Rødhåd's brilliant remix of 'Signs' by Howling  (below) and an EP for Dystopian - Kinder Der Ringwelt.

We caught up with Rødhåd ahead of some of his upcoming UK gigs including the Awakenings showcase in Manchester and the Mixmag Live takeover in Liverpool to talk about his transition to full time musician, his highlights from the past year and his Dystopian label. 

How different was last year for you? In 2014 you were still doing your architecture studies but 2015 saw you go full time with music. 

It's been really different. To be totally free and at the same time a slave of the flight schedule of each airline, it was an intense year for me.

For yourself, has there been a noticeable change in the way you approach DJing, the way you make music or the way you work at Dystopian because of the fact you've gone full time with music?

The good part of that is I have more time in the week to go to my studio. But, of course, you need also some time after your gigs to come down, so in the end I have to limit myself a little bit and also take some private time for myself.

When it comes to DJ gigs, I lately had more time to dig for records again, something I missed out on over the summer because I was always somewhere in the air.

Was it the right decision? Were you at all apprehensive about what your family's reaction would be?

There is no right or wrong. There is just a 'do it'!

I really enjoyed 'Im Glanz Des Mondes' (above) and 'Planet Der Verlorenen' from Kinder Der Ringwelt EP. You seemed to be exploring more ambient soundscapes on those and on other tracks. Would you agree?

Yes. That's what I mean, spending more time in the studio results in no pressure while producing, so I am working on stuff were I like the sounds, no matter if you can play it in the club or not.

When DJing you always have the listener, the audience in front of you. It's inescapable how the music you play will immediately affect them. Do you have the listener, the audience in your mind when you are making your own music? Is it a consideration, when you make music, whether or not you or other DJs will play those tracks?

No. I am totally aware of what people expect and what dancers need. But luckily I don't need to feed everyone's tastes.

How did you approach your remix for Howling Signs? The track is great! Out of all your productions, do you think you made most impact with that remix this year?

I liked working with the original material as well. It's always challenging to work with other people's music. It was for me a milestone in my remix career, that's for sure.

I saw you at Weather Festival in Paris last year. That was great too, thanks, although it seemed quite short, maybe because you weren't playing alone? Do you feel restricted when you are asked to play shorter festival sets than the longer club sets you're more used to playing?

It was a four hour back to back set with DVS 1. I played a lot of festivals last year with even less time, so four hours was ok.

Techno seems quite popular right now. Can it maintain this momentum? Where do you see the music progressing to?

Music comes back in waves. Now we've had techno, maybe next there will be gabber?!

How do you feel personally about where you have been programmed onto the bills at the festivals you've played in 2015? I'm thinking specifically about the times you've been appearing at and the DJs you've been playing after or before.

Sometimes it doesn't make sense at all, festival line ups are just a mix of a lot of random artists, there are just a few events really taking care of booking good music and programming wisely. But I take it as challenge, to present my taste to a crowd which is maybe expecting something more light.

What were your musical highlights of last year? What were your personal highlights of last year?

I can't point out specific highlights. Of course having a lot going on at my label Dystopian, I'm really happy about that. Also curating and mixing the Groove (German techno magazine) mix CD last year was great.

And, sorry to ask, what were the worst parts of the year?

Having to run at the airport to catch the plane.

What was your most memorable moment?

I really enjoyed playing Detroit Movement Festival last year. In general my USA gigs were great. Dimensions festival was also great, the Dystopian night in London and our own parties in Berlin. Playing Berghain.

What was the best gig you played last year?

The best gig is always the next one, they say.

Now you know what working full time in music is like, how different will your approach be in 2016? Are there any things you want to do differently this year?

I will be getting a coffee machine for my studio!

Who impressed you musically the most in 2015? Who surprised you musically the most in 2015?

There are too many to name, but the Paris techno scene still delivers. Berlin also has got some really, really good new producers. I played a lot of the new Swedish scene stuff too.

I've read you like a melancholic feel in music. Techno over recent years has featured the least amounts of melody I can ever remember in the genre. How can emotions be transmitted in music without using keys? Is it possible to transmit emotion using only rhythm and atmospherics?

Sure, that's what music should be about, no? Sending messages without words, just feelings.

Check out Rødhåd's upcoming gigs