Why breaking genre rules in house & techno often means big DJs won’t play your tracks — and why that might actually be a good thing for real creativity.

As a ‘newcomer’, I’ve had this discussion time and again with an insider from the house/techno scene who has over 20 years’ experience as a professional (doing it full-time and making a living off of it):

My view is: exciting, new music can only emerge if certain rules of a genre are broken.

His view is: yes, but then nobody will play it.

Whereby ‘nobody’ in this context refers to the well-known DJs of a given genre who have a lot of influence.

What he means is:

If a track deviates too much from the expectations (of renowned labels and DJs), if it can’t be easily put into a particular (sub)genre drawer without the hinges squeaking …

It won’t be played by the big names

And that’s what it’s all about, isn’t it? Being played by the top dogs?

Sure, it’s the ultimate musical accolade to be played by the greats of a genre.

Plus, it could be that crucial next step you need to take your music career to the next level.

Because only those who are played by the greats and therefore recognised by the industry’s gatekeepers stand a chance of securing substantial fees for gigs.

And that brings me to my main point:

It´s more about success than art

If all that remains is following rules and meeting expectations, it’s not really about creating new and exciting art anymore.

Then the primary focus becomes achieving success.

To increase the chances of success, all the rough edges in the music must be smoothed away – anything that might irritate the target audience.

Throwing a Detroit string pad into a progressive track? Too risky, because it’s atypical for the genre.

An arpeggio in a deep house track? Unfortunately, that won’t do – in that genre, only chords are allowed; everyone knows that!

To be honest …

I find this situation pretty lame

Nothing is more boring than music where, as a listener, I know exactly what’s going to happen next. Where I’ve heard every sound in the same context somewhere else before.

How is tension typically created, whether in film or music?

By something happening that I wouldn’t have expected.

Some of these surprises are pleasant, some aren’t. But in any case, it’s not boring.

And that’s the worst thing for me when I’m listening to music or clubbing: boredom.

Of course, breaking with expectations involves a certain risk.

Multiple levels of risk

For the producer, the risk is that their track will be rejected by labels if it breaks with certain ‘norms’.

Because the label bears the risk that the track will sell poorly.

This also reduces the chance of the track being played by big-name DJs. After all, they, in turn, have to meet the expectations of club and festival audiences.

Any ‘unconventional’ track carries the risk of dampening the atmosphere on the dance floor.

This, in turn, poses a risk to clubs’ reputations and takings. After all, who wants to book avant-garde mood-killers as DJs?

Risk management

And so, at the end of the day, it essentially boils down to (unconscious) risk management on several levels.

A term that certainly doesn’t originate from the art scene, but from the business world.

I found the following definition for it online:

“Risk management is a systematic process for identifying, analysing, assessing, managing and monitoring risks in order to safeguard a company’s continued existence.”

There you go.

I don’t consider any of this to be reprehensible at all.

Of course, labels, professional DJs and clubs are commercial enterprises.

They have to do the maths and make calculations. And that naturally involves a certain amount of risk management.

It just has to be clear that this has less and less to do with art in the true sense of the word.

The freer the art, the greater the risk of failing

Or, against all odds, of achieving big success.

I would refer here to the current Canadian phenomenon of Angine de Poitrine (if you haven’t come across them yet, look them up), which, admittedly, cannot be placed within the house/techno scene.

The more regimented the music, the more it’s about measurable factors; it’s about business.

There is no black and white here

The relationship between art on the one hand and business on the other is more of a continuum.

Every artist must decide for themselves which side they prioritise and to what extent.

Those who don’t care about measurable success can basically do whatever they want.

Those who want to build a structured career in the music business, on the other hand, should familiarise themselves with the mechanisms early on and constantly negotiate a compromise between what they would like to do musically and what seems to be ‘permitted’.

Even those who choose the latter path should never lose sight of what should originally be the starting point of every artist’s journey.:

A passion for music.

Restrictions within genres

In addition to the rules at track level, there is another layer of (invisible) restrictions for renowned producers/DJs:

The subgenre in which they operate.

Here, too, it is important to manage expectations.

I keep seeing established artists posting snippets of tracks on Instagram that sometimes only slightly deviate from the genre for which they’re known.

Sometimes they write, with a touch of regret, that they unfortunately can’t release these tracks because they don’t fit their genre.

Is it just me, or isn’t that a bit sad?

As the great Rick Rubin said:

“The imagination has no limits. The physical world does. The work exist in both.”

Once they reach a certain level, artists are evidently no longer able to act freely.

Contrary to the very nature of the creative process, they must regulate and constrain it so that it does not jeopardise their careers.

One can either regret this or simply accept it

However, it also shows that musical innovation, if it comes at all, can only be expected from those who have nothing to lose.

From the ‘small’, unknown artists who can afford to follow their intuition 99% of the time and make the music exactly as they imagine it.

Even if, in doing so – consciously or unconsciously – they break the rules of certain genres.

Which brings us back to the starting point of this text.

Listening recommendations

Here are five releases that are well worth a listen. Curated for you with passion and without shying away from taking risks

Snomir – LTDBLBL022

Format: Vinyl & Digital

Label: Limited White Label

Genre: Jazz House

Year of Release: 2026

Favorite Track: Caveman (Rework)

What I like about this release:

This EP is very multifaceted. The A-side impresses with beautifully arranged grooves, over which tasteful saxophone lines float. The B-side then ventures into dubby territory, without losing touch with the vibe of the A-side.

Club Squisito feat. Marina Santelli – Come Into My Life

Format: Vinyl only

Label: Do it now recordings

Genre: Jazz House, Vocal House

Year of Release: 2025

Favorite Track: Come Into My Life (Rudi Kastic Remix)

What I like about this release:

“Come into My Life” comes in four flavors: the original mix and three tasteful remixes. My favorite is Rudi Kastic’s rendition, which closes the EP as B2.

Saktu – Fucha EP

Format: Vinyl & digital

Label: Heisenberg

Genre: Tech House

Year of Release: 2026

Favorite Track: Chomdao

What I like about this release:

Saktu´s Fucha EP offers four intricate tracks characterised by driving bass lines, mellow pads and tasteful chords. One of those EPs you can listen to from start to finish over and over again.

V.A. – ZNÄÄE 002

Format: Vinyl & digital

Label: Lyssna Records

Genre: Minimal, Jazz House, Breaks

Year of Release: 2025

Favorite Track: Tom Ellis – Short Lived

What I like about this release:

This is another highly versatile EP. Tom Ellis kicks off the A-side with a wonderful blend of minimal and jazz house. It continues with a solid techno track by Levi Verspeek. The B-side moves away from the 4-on-the-floor territory and offers two intriguing broken beat tracks.

Line-o – Intimate Semantics

Format: Vinyl & digital

Label: Ndyuka Rhythms

Genre: Techno

Year of Release: 2026

Favorite Track: Irresistible

What I like about this release:

This EP features the kind of techno I like best: driving, percussive, crisp and uncluttered.

Der Beitrag Why House DJs Won’t Play Your Tracks (Even If They’re Good) erschien zuerst auf Magasine.

Should you release house, techno, and downtempo under the same artist name?

I share the pros, cons, and why I started a new project to avoid confusing algorithms and fans.

You can find the first release of my new side project Still No Jazz here.

If you’ve been following my story and my music so far, you’ll have already noticed that my music doesn´t focus on a single (sub)genre.

Variety and exploring different styles of electronic music is what makes it appealing to me.

If I imagine producing only dub techno, only deep house or only minimal, I’d probably lose interest after a short while.

When I look at the work of my favorite producers (including Martin Buttrich and John Beltran), I find an incredibly wide range of great music there.

That’s also my vision for how I want to shape my own music catalogue over the years.

The downsides of a broad musical portfolio

However, producing and releasing music across different subgenres also has its drawbacks, particularly in today’s world of algorithm-driven streaming services.

People can’t pigeonhole you so easily.

And anyone listening to my new tracks expecting them to sound similar to my previous ones is bound to be disappointed here and there, or at least confused.

I suppose I’ll just have to live with that drawback.

Music for dancing and for listening

Up to now, I haven’t consciously distinguished between music for dancing and music for listening in my releases.

Ultimately, it’s impossible to draw a clear line between the two, because if a track irresistibly makes me want to dance, it’s usually so good that I’m happy just to listen to it too.

Conversely, that isn’t always the case.

A track that I enjoy listening to doesn’t necessarily have to meet the formal criteria that a club track should fulfill.

For example, a sufficiently long intro and outro that gives the DJ time to mix the track in and out.

There’s a musician inside me

I originally began my musical journey as a guitarist. I played in various rock bands during my youth.

Later on, I became fascinated by instrumental music and jazz, and I spent days simply improvising on the guitar to the music.

It was only after that, in the late 1990s, that I discovered club music via drum and bass and began experimenting with synths and drum machines.

Unfortunately, many 4-on-the-floor genres aren’t the best musical home for guitar sounds.

This is more the case with downtempo house.

That’s why I’ve experimented a bit with this genre and achieved some very pleasing results.

The future of Magasine

I will continue releasing club-oriented tracks under the Magasine moniker.

These tracks fall somewhere between house, techno, and minimal, with tempos ranging from 125 to 130 BPM.

The music will primarily focus on the needs of DJs, but of course it won’t be purely functional.

So it’s also made for people who simply want to listen to this kind of electronic music.

And I’ll continue to experiment with different subgenres such as minimal or Detroit.

Still No Jazz

However, under the name Still No Jazz, I’ll be producing downtempo house music.

This genre allows me to experiment with more complex harmonies and different instruments, which gives the tracks a slightly brighter and more playful feel.

Although the name Still No Jazz suggests that the music will have jazzy vibes, it won’t be what most people would consider “proper” jazz.

Many of the tracks will be danceable though, with a tempo ranging from 115 to 120 beats per minute (BPM).

Positive side effects

By running both projects under different names, I don’t confuse the all-powerful algorithm – be it on Spotify, Apple Music or Beatport.

I also have to make fewer compromises when producing, by trying to somehow reconcile things that don’t really belong together.

Despite all the musical variety, labels help people to sort things out sensibly.

This also makes it easier to market and promote the tracks, as it’s clear who they’re aimed at.

I also don’t want to be seen as “that guy who does a bit of everything.”

What matters most to me is having fans who enjoy my music. Whether it’s for one project or another.

If you’re interested, I’d of course be delighted if you followed both.

Listening recommendations

As always, I’ve got some great tracks for you, both old and new.

Marco Nastic – Everyday Baby

Format: Vinyl (see Discogs) & Digital

Label: Sleep Is Commercial

Genre: Tech House

Year of Release: 2011

Favorite Track: Trophy Tour

What I like about this release:

I stumbled upon Marco Nastic at an event called Techno Ballet at Cologne’s famous Bootshaus club. He delivered the soundtrack for an impressive performance by dancers from the Berlin Ballet Company. If you like techno and ballet, check this out!

Tar Blanche – How to dance freely without social anxiety

Format: Vinyl & Digital

Label: Delicious Records

Genre: Downtempo House

Year of Release: 2025

Favorite Track: If You Can´t Trust Your Heart

What I like about this release:

First of all, there’s the title. How ingenious to call an album How to Dance Freely Without Social Anxiety! Although the music comes across as more of an easy listening experience, it’s definitely suitable for gently shaking your hips while enjoying a cool drink.

V.A. – Nothing Can Go Wrong

Format: Vinyl

Label: Breidenbach

Genre: Minimal

Year of Release: 2025

Favorite Track: Chris Llopis – Aetherial Haze (B2)

What I like about this release:

Breidenbach’s third vinyl release features four different styles of minimalism. The entire EP is outstanding, but I’m especially fond of Chris Llopis’s “Aetherial Haze” with its melodic yet minimalist synth lines.

Delano Smith – Deeper Fundamentals I

Format: Vinyl & Digital

Label: Mixmode Recordings

Genre: Detroit Techno

Year of Release: 2020

Favorite Track: On Arrival (B2)

What I like about this release:
Everything. I’ve been listening to Delano’s music for years. It’s one of those EPs that I can listen to at any time.

Take care, Magasine

Der Beitrag Should You Release Multiple Genres Under One Artist Name? erschien zuerst auf Magasine.

Discover the two main types of DJs — Curators who play complete, standalone tracks and Performers who treat tracks as tools.

Which philosophy do you follow in techno and electronic music?

A couple of weeks ago I stumbled upon an Instagram post by Pheek, a producer and sound engineer from Montreal.

In his post he states that “Techno Tracks Are Built to be Mixed (They´re incomplete on Purpose)”

And that´s “why producers feel their music is empty and incomplete”

Furthermore he says that “Techno isn´t meant to stand alone” and that “the original idea of techno was to be layered by DJs in a high-energy context”

He sums it up by claiming that “tracks are tools, not performances”

Pheeks post seem to struck a chord in the techno community as his post gained above 4k likes and most of the commentators approve his point of view.

I’m afraid I have to disagree.

Even though I understand his argument, to me he is only describing one of …

Two schools of thought

On the one hand, there are tracks that take the listener on a journey.

Tracks that build up over minutes and then perhaps take a surprising turn.

Such tracks are therefore “complete.”

Does that make them harder to integrate into a DJ mix?

I don’t think so.

How well a track fits together with others depends much more on how well the piece is arranged and mixed.

The art is to produce tracks that, although simple or sparsely instrumented, can stand on their own as well as work in a mix with other pieces.

One does not exclude the other.

Which tracks do DJs prefer?

In my opinion, there is no general answer to this question either.

Because there are at least two philosophies in DJing:

DJ Type 1: The Curator

On the one hand, there are those who see themselves more as curators.

You can recognize these DJs by the fact that they don’t need more than two decks to perform.

Their mixing style is also not particularly spectacular.

Their focus is on playing the right track at the right time and taking the dance floor on a journey.

With tracks that stand on their own. Even if you were to just listen to them from start to finish.

They have little interest in adding further elements or layers to the tracks they curate.

Prominent examples of this school of thought would be Sven Väth and DJ Hell.

DJ Type 2: The Performer

On the other hand, there are DJs who want to shape their sets more actively.

They are not satisfied with simply creating transitions between deck A and deck B.

In the past, masters of this craft, such as Jeff Mills, played with three or sometimes even four turntables and managed to keep them all in sync.

To this day, Jeff Mills integrates a 909 into his setup to add additional drum elements to his sets:

DVS1 usually plays on four CDJs and, according to his own statement, picks out the frequencies from each track that he needs or wants to hear in his mix at that moment.

Richie Hawtin’s hybrid setup essentially looks like this:

“Traktor is running four decks and simple effects, essentially mimicking the function of the 100 kilos of vinyl he used to carry.”

But there’s more:

“Bitwig runs in the background, adding an extra layer of drums and effects, similar to the 909s and effects he once brought on the road.”

Five layers at once? Jesus…

Tracks vs Tools

I think it’s clear who prefers one over the other.

The curator wants tracks that can stand on their own, that are “complete” – to use Pheek’s terminology.

Performers can easily work with tracks that don’t tell a story, don’t take the listener on a journey, and don’t have any ups and downs.

They may even prefer incomplete tracks for their style of DJing.

In other words, they prefer to work with tools, not tracks in the traditional sense.

They don’t leave it up to the producers in the studio to create suspense.

They prefer to do this job themselves just in time.

Performer DJs tend to get bored in the role of curator.

They want to do more with and to the music than just select it and present it in the best possible way in the club.

Every DJ has to find out for themselves which role they feel more comfortable in.

Why I am a curator type

I realized relatively quickly that I am more of a curator type.

Because as a listener, I have a soft spot for epic tracks, as I have already explained here.

For tracks that tell a story.

As a producer, I love creating suspense.

Building up and releasing energy in a track.

Even when I make more minimal pieces, I would never release a track if it were incomplete or couldn’t stand on its own.

But everyone has to decide that for themselves…

Listening recommendations

Here are a few releases that definitely stand on their own…

Canavezzi – Ascension

Format: Vinyl

Label: Manjumasi

Genre: Tech House/Progressive

Year of Release: 2026

Favorite Track: Outsider (B1)

What I like about this release:

Four fantastic tracks that create a mystical, dark atmosphere with their powerful sound… I enjoy listening to the whole EP. My current favourite is ‘Outsider’…

Fedo – Nuke Hook EP

Format: Vinyl & Digital

Label: Modeight

Genre: Minimal

Year of Release: 2026

Favorite Track: Madam from Athens (A2)

What I like about this release:

Minimal, just the way I like it: groovy, pared down, yet playful. It’s hard to pick out any particular track on this EP. But ‘Madam from Athens’ really stands out with its weird vocal cuts …

Martin Buttrich – Fire Files

Format: Vinyl (see Discogs) & Digital

Label: Desolat

Genre: Minimal/Tech House

Year of Release: 2011

Favorite Track: Rocket (A1)

What I like about this release:

An old classic from my all-time favourite producer: Martin Buttrich. I stumbled across ‘Rocket’ recently while listening to the early Desolat catalogue. Such a good track…

Nat Wandall ft. Robert Owens – Easy (Kaidi Tatham Remix)

Format: Vinyl & Digital

Label: Eclipser Chaser

Genre: House

Year of Release: 2025

Favorite Track: Easy (Kaidi Tatham Remix)

What I like about this release:

I’m not the biggest fan of vocal house, but Robert Owens’s voice is simply in a class of its own. “Easy” is a beautiful track, and the Kaidi Tatham remix is especially good music, not just for the dance floor.

Various Artists – Coalescence

Format: Vinyl & Digital

Label: The third room

Genre: Techno

Year of Release: 2026

Favorite Track: Claudio PRC & Luigi Tozzi – Onirica (B1)

What I like about this release:

When it comes to techno, René Wise is one of my favorite producers. But on this EP, I was particularly drawn to ‘Onirica’ by Claudio PRC & Luigi Tozzi with its dark mood.

Magasine Updates

First of all I have a new track released: Pressure.

There are two mixes of the track, one is called “Stardust Mix”, the other “Redux Mix”.

I´m curious to hear which one you like better …

You can have a listen here.

I recently recorded a series of hardware jams on video for my YouTube channel.

Based on the jams, I then produced a total of five finished tracks and sent them to two labels where I would like to release them.

Then I came across a video warning about the following scam:

Nowadays, it’s no longer safe for producers to post snippets of their work in progress online.

That’s because some douchebags take these snippets, upload them to AI tools, and have an entire track produced based on them, which they then release under their own name.

If you, as the actual creator of the track, want to release it later, this can be problematic because the track has already been released by the AI douchebag.

Great, right?

The only safe solution is therefore to only post work-in-progress videos online once the corresponding release is already signed and sealed and therefore secure.

So unfortunately, I can’t post the videos on YouTube for the time being …

Take care, Magasine

Der Beitrag Two Types of DJs: Curators vs Performers in Techno & House erschien zuerst auf Magasine.

In the age of AI-generated music, why should you still make and release your own tracks?

A deep reflection on intrinsic motivation, human expression, oversaturation, and what truly matters for electronic music producers.

There’s no doubt that a lot has already been said on this topic.

However, I found a video by “Venus Theory,” who runs a well-known YouTube channel, to be remarkably inspiring:

In the video, Venus Theory (an indie musician) discusses the rise of AI-generated music and its impact on artists. It is based on emails from desperate musicians who feel that AI is superior.

However, the speaker argues that AI does not condemn artists to failure, but rather encourages them to reflect on the purpose of creation.

I agree. Let’s start with the question of all questions:

What´s the point of making music?

Why make music if there’s already so much of it out there?

Do you make music primarily for other people or ultimately for yourself? So, is the drive to make music more from within or from without?

People who make music just because they love it are less likely to ask themselves whether making music still makes sense in the age of artificial intelligence.

For me, it’s just an innate need to be creative. I need …

Music as a form of expression

The big question isn’t whether my music is as good as what AI can produce.

Instead, I measure my musical performance against myself. And whether it develops positively over time.

This basic human need to express ourselves creatively through music can never be replaced by AI.

But for folks who make music to please others or get quick success, the fact that AI can create so much music might be a real threat.

Now that we’ve gone over the main reasons for making music, the next question is:

What´s the point of releasing music?

Even musicians who are intrinsically motivated – like me – will eventually ask themselves the question:

What should I do with my music?

Should I keep my creative work to myself, or do I want other people to hear it?

I think the latter is totally normal.

When you make music that inspires you, you naturally want to share that inspiration with other people.

Music is one of the easiest ways to bring joy to other people and enrich their lives.

Being open and vulnerable

But sharing your music with the world also makes you vulnerable.

You might open yourself up to criticism that you wouldn’t have to deal with if you just kept your music to yourself.

On the flip side, putting out my music lets people connect with me as an artist.

So, if you love music and want to share that with others, you won’t let anything stop you.

Even if your music is just a small part of the huge amount of music that already exists.

The de-evaluation of music with streaming

It’s easy to feel like there’s no point in releasing your music when there’s already so much out there, especially with all the streaming platforms.

The more music there is, the less each piece is worth.

But this problem was around even before the age of AI. AI just speeds up how quickly the value is lost.

Here’s the lowdown:

The music industry is oversaturated (in every aspect)

The problem of oversaturation isn’t just on streaming platforms.

It starts much earlier. The industry’s got tons of offerings for musicians and producers.

These days, we’re spoiled for choice when it comes to resources for producing.

The funny thing is, you don’t really need a lot to make a good track.

These days, all you need is a laptop and a DAW like Ableton Live or Logic to build tracks.

But there’s a big risk of getting lost in the details and drowning in an oversupply of software and hardware.

I wasted years testing a ridiculous number of production tools like softsynths, hardware, and plugins.

I’m happy I found a workflow that works for me in all this confusion.

Who really needs AI in music?

However, what I have never missed in all these years is something like artificial intelligence that helps me create music.

Or even crazier: that completely takes over the process of making music.

Just because you can do something technically doesn’t mean you should.

I really appreciate good software, but I’ve never missed the functionality of AI in production.

For me, AI in music solves problems that no one has.

At least, not the ones who think of themselves as real musicians, artists, or producers.

Real artists don’t want the process of creating art to be taken away from them.

It’s this very process that makes art what it is.

How an artist sees themselves is ultimately defined by the obstacles they overcome when creating art.

Speaking of art, let´s talk about todays …

Listening recommendations

Ana Antonova – Mare Calmo EP

Format: Vinyl & Digital

Label: Rawax

Genre: Deep House

Year of Release: 2025

Favorite Track: Passeggiata (A2)

What I like about this release:

Inspired by an unforgettable summer along the Croatian-Adriatic Coast, this EP exudes a light yet deep vibe. “Passeggiata” flows nicely and reminds me of the style of John Beltran, one of my favorite producers. Speaking of whom…

John Beltran – La Manana EP

Format: Vinyl (see Discogs) & Digital

Label: Stasis Recordings

Genre: Deep House, Ambient

Year of Release: 2020

Favorite Track: Sweet Storm (A1)

What I like about this release:

There are deep tracks, groovy tracks, and then there is this simply beautiful track: “Sweet Storm” immediately captivates the listener with its soothing pads and multiple melodies that intertwine like the shapes of a kaleidoscope. The rest of the EP continues the dreamy vibe of the opener.

Tom Ellis – Chroma Blur

Format: Vinyl & Digital

Label: Logistic records / Telegraph records

Genre: Minimal

Year of Release: 2025

Favorite Track: Shoreline (A2)

What I like about this release:

This EP is minimal, yet totally diverse. Each of the four tracks has its own distinctive vibe. It makes buying vinyl fun when all the tracks are strong without exception and you want to listen to them over and over again.

Roman Lindau – Herb Politics

Format: Vinyl & Digital

Label: Colorcode Records

Genre: Techno

Year of Release: 2024

Favorite Track: Herb Politics (Sascha Rydell Remix) (B1)

What I like about this release:

This EP consists of just one track, the title track “Herb Politics” by Roman Lindau, plus four very successful remixes. Personally, I really like the Monomood remix (deep house), and if you like something a little harder, the Sascha Rydell remix (techno).

Magasine Updates

Even though I would primarily describe myself as a producer, I also enjoy DJing.

A long time ago, I had a setup consisting of two Technics turntables and two CDJs.

After not knowing what to do with them for ages, I sold everything a few years ago. Definitely one of the dumbest decisions I’ve made in my life so far.

About three years ago, I bought CDJs and a mixing console again. Last year, I added a Technics 1210 MK7 turntable.

After six months of using Rekordbox, CDJs, and AIFF files on the one hand, and vinyl on the other, I realized something:

I just don’t enjoy handling digital files and the feel of digital media players anymore.

The feeling when working with vinyl is completely different.

So, after much deliberation, I recently made a fundamental decision:

I’m going vinyl only.

When I DJ, I’ll use two Technics turntables, a mixer, and nothing else.

We’ll see if I regret this decision at some point, but right now it just feels right…

What else is new?

I recorded a few jam videos with hardware grooveboxes and synths for my YouTube channel.

You can watch the first video with a minimal house jam here:

Thanks for reading and listening.

Take care, Magasine

Der Beitrag Making Music in the Age of AI: Why Real Artists Still Create erschien zuerst auf Magasine.

In this article, I explore why long-form tracks (especially in house and techno) matter more than ever, the unique challenges they present to producers, and four outstanding examples that perfectly demonstrate the craft.

A few weeks ago someone left a comment below a reel about my last release “Time Is Up” I posted on instagram:

He says: “Really good groove, bro! try to upload a short version on spotify getting to the point. Congrats.”

The guy’s got good intentions, no doubt. I also get his idea but …

I’m not going to do that because, for one thing, I don’t want to compromise my music to please the algorithms of a streaming platform.

I’m not a fan of tracks like that as a listener either.

I’ve started skipping right away whenever the algorithm suggests tracks that are under three minutes long.

What´s the point of a track if it’s only between one and two minutes long?

As a starting or middle piece for an album, sure.

But as a standalone track, I can’t take it seriously.

That’s why today I want to devote myself to an art form that is the exact opposite:

Long-form tracks

There’s no official definition for this, but for me it includes tracks that are (significantly) longer than 8 minutes.

When they’re done well, these songs are like musical journeys.

It’s a listening experience that makes you forget about time and space.

Long-form tracks are great for playing in the background when you need to focus on something else, like work or studying.

But they also work when you listen closely and pay attention to every nuance.

These pieces work differently

The demands on the producer are also in a whole other league.

Loop-based pieces of music can be tough to keep interesting for more than 10 or 12 minutes, even sometimes longer.

As a producer I’m all good with 5-7 minute tracks, but so far I’ve only been able to keep the tension going for about 10 minutes on two tracks.

I’m going to release both tracks this year.

Either way, it´s more than just adding and removing a few elements here and there.

You’ve got to come up with more ideas to keep the listener hooked.

The basis is always an irresistible loop

It’s a combination of drums, percussion, bass, and synths that creates a groove so good, you could listen to it forever.

The goal is to build this loop throughout the entire piece, to vary it and develop it further without losing its mojo.

Before we get lost in the details, let’s chat about some great long-form tracks that show how to do this right.

Listening Recommendations

I want to tell you about four long pieces that I love and have been listening to over and over. In one case, I’ve been listening to it for almost 20 years now…

01/ S.O.N. – UNTITLED A (S.A.M RESHAPE)

Format: Vinyl (see Discogs) & Digital

Label: OGE Music Group

Genre: Deep House

Year of Release: 2017

Track length: 9:39 min

What I like about this track:

The basis for this soothing deep house track is its finely interwoven pads.

These swell and fade throughout the tune, providing a cozy foundation for the rhythmic synth motif.

Here and there, tasteful vocal cuts enrich the sound spectrum, as do acid-like synth bass lines, which remain discreetly in the background at all times.

It doesn’t even need a real breakdown in the middle to make the track sound dynamic.

In any case, the 9 minutes and 39 seconds fly by, and you wish the track would just go on forever…

02/ Martin Buttrich – Full Clip

Format: Vinyl (see Discogs) & Digital

Label: Planet E

Genre: Detroit House

Year of Release: 2006

Track length: 12:04 min

What I like about this track:

This track brings back a lot of memories for me.

In 2007, I worked shifts in a surgical intensive care unit (yes, my main profession is medicine…) and Martin Buttrich’s “Full Clip” was often my soundtrack at night.

Coincidence or not, in the breakdown of the track, only one element remains in place: the classic beeping of an ECG.

The way Buttrich builds up the rhythmic string motif over time, subtly increasing the energy level, is still unmatched in my opinion.

A timeless classic that I still enjoy listening to as much as I did on the first day, almost 20 years later.

Mattias El Mansouri – Inre Dimension

Format: Vinyl & Digital

Label: Aniara

Genre: Deep House

Year of Release: 2024

Track length: 13:19

What I like about this track:

Mattias El Mansouri’s “Inre Dimension” is actually two tracks in one.

The piece begins with a pleasant ambient pad that meanders along. After about 4 minutes, the first rhythmic element kicks in subtly.

In the 6th minute, the track picks up speed with a percussion ensemble and a driving kick.

The original pad recedes almost completely into the background at times, but always comes back to the fore.

Beautiful stuff!

Richie Hawtin – Time Warps

Format: Vinyl (see Discogs) & Digital

Label: From Our Minds

Genre: Techno

Year of Release: 2020

Track length: 18:38 min

What I like about this track:

“Time Warps” is the fastest at 138 bpm and also the longest of the four tracks I’m presenting today.

Hawtin has probably processed his experiences at the beginning of the coronavirus pandemic in this work.

It is carried by a memorable question-and-answer sequence formed by two bright, similar synth sounds.

Underneath is a driving groove, primarily powered by kick and various hi-hats.

From the breakdown at minute 10, another synth figure enters the scene, harmonically expanding the track and keeping it exciting …

Those were my recommendations on the topic of long-form tracks.

Take care, Magasine

P.S.: If you enjoyed reading this newsletter and you aren’t a subscriber yet, please consider subscribing.

Der Beitrag The Art of Long-Form Tracks (Music Longer Than 8 Minutes) erschien zuerst auf Magasine.

In this piece, I explore how the shift from physical media to streaming has fundamentally changed not just what we listen to, but how we listen.

And why returning to more intentional formats like vinyl might be one of the most rewarding decisions a music lover can make today.

I’m a Gen Xer, and I started listening to music on cassette tapes in the late ’80s.

Then I switched to CDs in the ’90s and stuck with them in the 2000s. In addition, I started buying MP3s.

At some point after 2010, I figured out that streaming music (Spotify!) might be the best way to consume music.

Well, it turned out that it isn’t.

I’d like to mention here that I skipped the Napster P2P file sharing madness completely. I never thought that music (art) should be free for everyone to consume.

Did I switch the medium on purpose a bunch of times?

No, I just went along with the trends of the times and what the industry promoted as the way to go in every given decade.

It is easy to see what the common denominator of each of these technological changes was: convenience.

Cassettes were more convenient than records because they took up less space and, with the introduction of the Walkman, made it possible to listen to music on the go.

From analog to digital

CDs, in turn, were more convenient than cassettes because they were less sensitive and more durable than the tape in audio cassettes.

They also promised better sound quality that did not deteriorate even after repeated playback.

An MP3 player was more convenient than a CD player because it was much more portable without a physical medium and could store almost unlimited amounts of music.

Remember Steve Jobs’ promise that with the iPod, you could carry 1,000 songs in your pocket.

The pinnacle of convenience

Then, music streaming and smartphones entered the market around the same time. Now you didn’t even need an extra device to listen to music.

An app on your smartphone was enough to listen to literally every song ever released in the world. Could it get any more convenient?

I hardly think so. But …

The path to convenience comes at a price

Starting with the disappearance of the physical medium, the way we listen to, perceive, and appreciate music has changed.

Streaming, in particular, has increased the amount of music available to us so dramatically that each individual song is worth less and less.

Is the intro to a song too long? Just skip ahead and let the algorithm serve you the next track.

Who decides what music you listen to?

Think about it: as long as music is stored on physical media, no one else decides what music you listen to except yourself.

You have to figure out what you want to hear and pull the corresponding media from the shelf.

In the age of streaming and playlists, however, other people decide what we listen to next. And today, it’s almost exclusively algorithms.

Is that really what we want? Do we really want to consume music in this thoughtless way?

Please don’t get me wrong.

I’m not trying to badmouth streaming here

Streaming is great for discovering new music or exploring the entire catalog of certain artists.

But if we really want to listen to music consciously and engage with it in depth, then the old-fashioned physical recording medium is still the way to go.

That’s why I bought a record player again last year.

I say “again” in this context because there was already a phase around 2010 when I collected vinyl. However, it was purely for DJing, rather than for listening.

Now I chose vinyl because it’s just so sexy compared to cassettes and CDs.

I just love the whole process of working with vinyl

Browsing for records (online), previewing them, choosing them, ordering them.

Then unpacking them, admiring the artwork, taking the record out of its sleeve, putting it on, wiping off the dust, placing the stylus on the record, hearing the first crackle… and then listening to the record all the way through.

Over and over again.

This has now become …

My preferred way of listening to music

When I’m at home and not making music myself, my Technics 1201 MK7 is almost always playing.

Even when I have the records playing as background music while I’m doing paperwork… every record that plays is a conscious decision for exactly the right music at that moment.

At the end of the day, this is what matters to me: consciousness trumps convenience.

Good music deserves to be listened to deliberately.

At least, that’s how it should be.

Listening Recommendations

In keeping with the theme, today’s listening recommendations are very vinyl-heavy…

01/ Guy Gerber – Every Time we say goodbuy EP

Format: Vinyl & Digital

Label: Rumors

Genre: House

Year of Release: 2025

Favorite Track: Every Time we say goodbuy (feat. Blanca) (A1)

What I like about this release: The title track is based on a simple two-chord cadence that repeats throughout the entire tune. The sound palette impresses with its nice retro vibe, over which Blancas’s melancholic vocal lines float nicely.

02/ Sublee – Youmanity LP

Screenshot

Format: Vinyl only

Label: Metereze

Genre: House, Minimal, Techhouse

Year of Release: 2025

Favorite Track: Day Three (B1)

What I like about this release: The entire LP (3x 12”) offers a harmonious listening experience. The tracks are minimalistic, but not in a way that leaves them lacking in hooks.

03/ Deetron – Flow EP

Format: Vinyl & Digital

Label: Mutual Rytm

Genre: Techno

Year of Release: 2026

Favorite Track: Flow (Chord Dub)

What I like about this release: Solid, driving groove paired with cool chord stabs – sometimes that’s all I need.

04/ Neurotron – Walking Alone EP

Screenshot

Format: Vinyl only

Label: port au prince

Genre: Detroit House

Year of Release: 2024

Favorite Track: Walking (A1)

What I like about this release: “Walking” exudes a relaxed atmosphere with its groovy bass line and sparse piano chords. Nice to listen to or as an opener for a long night at the club.

05/ Adjustment Bureau – The Others EP

Format: Vinyl only

Label: Hypnosapiens

Genre: Minimal, Deep House, Tech House

Year of Release: 2025

Favorite Track: You were never really here (B2)

What I like about this release: A beautiful EP that you can listen to over and over again because it is so varied. Nice vibe.

Magasine Updates

My goal for 2026 is the same as last year: (at least) one release per month.

Fortunately, all releases up to May are already finished and scheduled.

This gives me the opportunity to experiment a lot at the moment.

Sometimes I feel like I have music-related ADHD, with so many tracks I’m working on at the same time …

In addition to the upcoming digital releases, I am particularly looking forward to my first 4-track vinyl release (Unexpected EP), which is scheduled to be released on March 19, 2026.

You can check it out here – the following three stores already have the record available for presale: Juno, Deejay, HHV

Take care, Magasine

P.S.: If you enjoyed reading this newsletter and you aren’t a subscriber yet, please consider subscribing.

Der Beitrag The Fallacy of Convenience: Why Streaming Ruins Music Listening erschien zuerst auf Magasine.