Proven strategies for finishing, promoting, and getting your tracks into DJ crates and playlists — without a big label or huge following.

I had been sketching electronic music for over 30 years and had never released anything until 2025, when I turned 50 and flipped a switch.

I knew I’d regret it someday if I didn’t show anyone my music.

So I changed my perspective, reflected my ambitions, and developed a workflow that would expose my music to DJs and listeners alike.

It didn’t take long before I was releasing track after track and gaining an audience for my music. Here’s how it works:

I’ll show you my tried-and-tested workflow, which takes you from the notorious four-bar loop to a polished, released track.

This guide is for independent electronic music producers who want to create tracks that DJs will actually play and build a lasting catalog.

To make everything clear, I divided this guide into five sections

Part I: I’ll give you a quick rundown of my journey and the mental obstacles I had to overcome to finally release my music.

Part II: We’ll check out the house and techno scene in 2026 and the role played by labels, streaming platforms, DJs, and AI tools.

Part III: We’ll move on to my tried-and-tested workflow, which will guide you from the initial idea to the finished track.

Part IV: We’ll talk about the typical mistakes I made over the years and which I still see a lot of other producers making today.

Part V: I’ll share more about the tools I use (hardware and software) and provide links to a few of my releases so you can get a feel for my music.

Before we get started, I’d like to draw your attention to my Magasine Essentials playlist.

On the one hand, it might serve as a proof that I know what I’m talking about.

On the other hand, feel free to play the playlist as a soundtrack whilst you read the guide.

This Is Where I Live: Düsseldorf (Germany)

Part I: My 30-Year Journey — From Bedroom Sketches to First Releases

Looking back, it’s almost beyond me why I didn’t manage to release even a single track sooner.

I’ve been playing the guitar since I was 14 and have been into electronic music since I was 19. I’m 50 now, so you can do the math.

In the late 90s, I was so fascinated by drum and bass that I put together my first setup consisting of a synthesiser and a drum machine.

I then got into four-on-the-floor stuff, i.e. house and techno, around 2006.

In 2009, I decided to go freelance for my day job, and then our daughter was born. So, I had to put my musical ambitions on hold for a while.

But honestly, I didn’t really have a lack of time as my biggest challenge back then.

My mindset was…

Perfectionism and other limiting beliefs

I was always really hypercritical with my music.

As soon as a track started to take shape, I’d think, “Not good enough”

That was definitely the case at the beginning: the music just wasn’t good enough to compete with the pro tracks.

I didn’t really know much about electronic sound production or how to mix a track well enough to make it sound good in a club.

But even as my learning curve went up, I couldn’t shake this thought: not good enough. Or, not “cool” enough.

On bad days, I even convinced myself that I simply had no talent for this kind of music. That there’s no way I’ll ever get it to sound professional.

Then there was my…

Indecisiveness: which genre should I stick with?

I loved playing the guitar and improvising as a soloist. On the other hand, I was fascinated by the power and energy of house and techno.

It’s pretty much impossible to bring these two styles together.

So over the years, it was a constant back-and-forth between “handmade” and electronic music.

I was in the middle of one when I realized I’d forgotten the other.

So, I never really committed to focusing on just one genre and putting all my energy into it.

Me With My Kids At The Beach (2019)

Another backdoor …

Procrastination: I can do it later

When you’re young, it’s easier to put things off. After all, you’ve got time to do them later.

So you always find a reason why now isn’t the right time to work hard on your music.

What’s more, it’s always easy to blame your indecision on a lack of inspiration.

I just don’t ‘feel’ like it right now …

And then, as time goes by, one day you think:

I´m too old now

From 2007 to 2009, when I was in my early 30s, I started to raise my ambitions a bit.

I thought to myself: this is probably my last chance to make it in music.

Because, deep down, I was afraid that I was actually already too old for a career in music.

Earning a living as a house and techno producer/DJ is really only for people in their early 20s, isn’t it?

There were two immediate problems with that line of thinking:

Firstly, age doesn’t matter in music (unlike in competitive sport).

Secondly, the idea of making money from music was completely far-fetched from the outset, because I hadn’t released a single track nor had I done many DJ gigs at the time.

Anyway …

Düsseldorf – Bridge Over The Rhine

Everything changed in 2025

In 2024, I finally decided it was now or never.

I’m either going to start releasing my music now, or I’m going to kick myself later on for not doing it.

I hit 50 that same year, and it really gave my ambitions a boost.

So, at the start of 2025, I took a few tracks that had been sitting half-finished on my hard drive for years.

I finally finished producing them, had them professionally mastered, and then released them independently.

Building a catalog

I put out a total of six singles, four EPs, and one full-length album in 2025. That makes a total of 40 tracks.

It’s now 2026, and I’m on track to release 40+ tracks this year under two different stage names.

Basically, now I´m working on a steadily growing collection of music that I own the rights to.

If that isn’t a plot twist, what is?

Six Lessons I learned

Düsseldorf – Rhine View

Part II: The 2026 Reality Check – Labels, DJs, Streaming & AI

The landscape for electronic music artists is constantly changing and evolving.

So let’s talk about what’s working and what’s not these days …

Labels vs. DIY – releasing house and techno tracks 2026

If you’re just starting out and haven’t released any tracks yet, or only a few, forget about other labels.

Start by releasing tracks yourself. We’ll talk about that in Part III of this guide.

If you already have contacts at labels, it can be easier to get things rolling.

As with a lot of other industries, the music scene is all about networking.

So, first make a name for yourself in the scene, then send your tracks to labels.

Remember, this is your decision. Don’t hand it off to someone else right away.

How to Get Your House & Techno Tracks Played by DJs in 2026

If you’re into club music, you’ll want people to listen to your tracks not just at home or at the gym, but also have them played in clubs.

This means that DJs should be able to discover your music and, if they like it, buy it.

Your distributor (see Part III) can help you get your house and techno tracks onto these platforms, where they’re sold to DJs in standard formats like MP3, WAV, or AIFF.

Even so, you should definitely upload your music yourself to platforms like Bandcamp or Subvert.

You don’t even need a distributor for this. You can do it yourself after creating an artist profile there.

The margin for you is also significantly higher on Bandcamp, at over 85% per track sold.

Sending unreleased tracks to DJs is another way to get them played. But that’s a whole different topic that would go beyond the scope of this discussion.

Technics 1210MK7

Streaming & Algorithms

Platforms like Beatport and Bandcamp make it easy to find music, if you know what you are looking for, but they don’t always offer the best discovery experience.

In this regard, the major music streaming services like Spotify, Apple Music, YouTube Music, Deezer, Tidal, etc., have the edge.

For example, one of your tracks could end up in a playlist and gets the attention of house and techno fans.

Streaming has a bad reputation among artists these days, and it’s not just because the pay per stream is pretty low.

Despite all the criticism, there’s one question that ultimately matters most to independent electronic music producers like me:

I can unequivocally answer that question with a yes.

To get your music onto the major streaming platforms, you’ll also need a distributor (see Part III).

SoundCloud is an exception to this rule.

This streaming platform is particularly worth considering for house and techno producers and DJs.

This guide is all about getting your music out there and getting people to listen to it. Just take it one step at a time

AI tools that I use and don´t use

When it comes to AI in music, I’ve got a pretty clear opinion:

Or to put it another way:

AI tools in music are designed to solve problems that real artists – that is, people who know their craft – don’t even have.

Obviously, this is a matter of personal opinion. You’re welcome to see it differently.

Do your mixdowns still sound a bit amateurish?

Then don’t just run your tracks through some random AI mixing tool – learn how to create better mixdowns instead.

Get feedback from people who are more experienced than you, or ask a mastering specialist for advice on how to improve.

If you let AI tools take over your learning curve, it’s on you. I wouldn’t recommend it.

I only sometimes use AI tools like Grok when researching certain topics. Other times, I use it to draw diagrams suited to my needs.

As a non-native English speaker, I use DeepL the most.

Depending on the situation, I might write my texts in German, my native language, or in English. Then I use DeepL for translation and/or to polish the language.

SOMA Pulsar-23

Part III: Step-by-Step Workflow That Gets Your Tracks Played

I tested and tweaked the following steps with every release. Here’s what saved me a lot of time:

Step 1 – Finishing Tracks (turning loops into arrangements)

That’s probably the biggest hurdle for electronic music producers: finishing tracks. Getting to the point where you say:

It’s good enough now. Let’s release it!

I struggled with that for a long time, too.

When it comes to arranging, one thing helps above all else: practice, practice, practice.

The more you turn your loops into complete arrangements, the better they’ll get.

These days, arranging tracks isn’t a problem for me at all. On the contrary, I actually enjoy it.

The beauty of house music—and techno in particular—is that there are no hard-and-fast rules when it comes to arranging tracks.

Essentially, your arrangement only needs to do one thing: hold the listener’s attention from start to finish.

In electronic music, this is typically achieved through skillful management of the energy level.

Also known as the tension curve: it’s all about the alternation between tension and release.

Here´s what a typical tension curve of a tech house track might look like:

Tension Curve Of A House (Techno) Track

Don’t forget that not every track has to be structured this way.

It doesn’t always need two breaks, a breakdown, a buildup, and a drop.

Alright, we’ve got the arrangement. Let’s tackle the second major hurdle on the way to a finished track:

Step 2 – Mixing house and techno

There’s also a lot to say about mixing. I’ll focus on the key aspects.

Unlike genres such as jazz or rock, the mixing process for electronic music doesn’t begin after recording or composing.

This is because when using conventional instruments, as in jazz, there are few surprises in the mix.

For example, it’s clear what frequency range a double bass occupies. It’s different with house and techno.

A synthesizer can produce all frequencies, from very high to very low.

That´s why we have to start shaping the sound much earlier in the process.

Typically, mixing is a two-step process in house and techno production.

When it comes to the final mix, use the 3D box model as a guide:

Every sound needs its place …

• in the frequency spectrum (high–low)
• in the stereo image (left–right)
• in the soundstage (front–back)

3D Box Model For Great House & Techno Mixdowns

Make sure your mix stays simple and mono-compatible.

Your track won’t sound wider just because every sound is in stereo. Place most of the sounds in the center (mono) and only select sounds on the sides.

The same applies to reverb. Give only one or two sounds more space, and keep the rest relatively dry.

Another popular topic when mixing down house and techno tracks is the low end.

To keep this guide from getting too long, I’ll cover that in a separate article.

Step 3 – Mastering house and techno in 2026

Can you master your own tracks?

Maybe, but I certainly can’t. And I don’t even want to.

You also won’t be able to enjoy these benefits if you opt for AI mastering.

It might work in some cases.

But from experience, I know that for a good mastering result, it’s better to make adjustments during the mixdown rather than trying to handle everything at the mastering stage.

Yes, proper mastering does cost some money.

After all, a real person with expensive equipment and a lot of experience has to invest their time and effort into it.

A good mastering engineer doesn’t have to cost a fortune. For around 40–50 EUR or USD per track, you should get professional results.

I’ll discuss how to recognize a good mastering engineer in more detail in a separate article.

Step 4 – Artwork & Metadata

These days, when it comes to artwork for your releases, you have plenty of options for achieving great results on your own.

I create all of my own artwork using Canva.

It’s an online design tool with countless templates for all kinds of projects.

Having a sense of taste and an eye for good design helps.

Browse the artwork of other artists in your genre on your streaming platform of choice for inspiration.

A consistent design style always makes a good impression.

For example, don’t use a landscape photo for one release, a comic-style artwork for the next, and then a retro look for the next one.

Unless, of course, that’s exactly what you want.

Here are a few covers of my releases on Beatport:

Magasine Releases Cover Artwork

Yeah, one design doesn’t really fit in with the rest. But in this case, I really wanted it that way for this EP

If you don’t trust your own taste 100%, ask people in your circle who have an eye for art to give you some advice.

And if you even know artists who can design a beautiful cover artwork for you (for a small fee), then that’s obviously the best of the best.

A quick note on the metadata for your tracks:

We now have a fully mastered track, beautiful cover art, and a catchy title. With that, we’re ready for…

Step 5 – Distribution for independent electronic music producers in 2026

I won’t be comparing the pros and cons of various distributors here. You can find plenty of such comparisons online.

In many cases, however, reviews are skewed because the YouTubers, bloggers, or influencers in question are affiliate partners of certain distributors.

That could be the reason, for example, why Distrokid is recommended everywhere you look.

After extensive research, I decided to go with the Swiss provider iMusician.

And I haven’t regretted my decision to this day.

What I appreciate about iMusician is the genuine, human support they provide.

There are still real people there who respond to your emails. You can even book video consultations if you need help.

The backend is clear and well-organized:

Screenshot iMusician Backend

New releases can be set up quickly and easily.

However, please note that each release requires a lead time of at least 14 days.

While last-minute releases are possible, they incur a significant rush fee.

You might be wondering whether you should release your tracks as singles, EPs, or albums.

At iMusician, all three options are available with the following guidelines:

• Single: 1–3 tracks
• EP: 4–6 tracks
• Album: 7+ tracks

One last point:

So you’ll need a little patience here…

Once you’ve submitted your first track to the distributor, it’s time to make the most of the time leading up to the release:

Step 6 – Pre-Release Promotion

This section will be relatively short.

I don’t think pre-release promotion is as important today as it used to be.

You’re probably all too familiar with these typical social media posts:

“Hey, check out my upcoming release“, “Something big is going to happen” yada yada…

At least when it applies to digital releases.

Just let me know when your thing is released, bro!

However, when it comes to promoting vinyl releases, things look a little different.

Due to the limited number of physically available records, the demand dynamics are different than with purely digital releases.

For example, pre-orders can play a significant role with vinyl.

With digital releases, you can minimize the upfront effort and focus more on the final step of our release plan.

Just Ableton Live & A Glass Of White Wine (Emptied)

Step 7 – Release Day & Post-Release Promotion

This part is crucial.

Every week, around 1 million new tracks are uploaded to streaming platforms.

There are various platforms available to independent producers. The main ones are: Instagram (Facebook), YouTube, and TikTok.

Depending on which platform suits you best, try using organic content there.

If you have a little budget to promote your tracks, I think Meta Ads are the most efficient way to reach an audience.

In any case, I’ve managed to build a decent fan base and following this way.

When it comes to playlists, services like Submithub and Groover can help you get your tracks onto popular playlists in any genre.

Although it’s convenient to listen to a bunch of tracks in a given genre, few people care about the artists behind those neat playlist songs.

That’s why I recommend focusing on Meta Ads.

If people go out of their way to click on an ad they see on Instagram just to listen to your track, there’s much more engagement behind it.

That’s it.

If you’ve stuck with me this far, you now have all the information you need—at least in broad strokes—to successfully release your tracks.

Magasine Studio Buddha

Part IV: The 7 Biggest Mistakes I Made (and Still See Everywhere)

Now let’s take a look at a few mistakes you should avoid along the way. I’ve made them all so you don’t have to

01/ Not finishing tracks (I had 100+ sketches)

Like I said, I didn’t run out of ideas in the past. I just couldn´t finish my tracks.

There’s another issue with keeping your tracks at loop level:

If you don’t finish the race, you miss out on the last-mile production lessons.

If you want to finish a marathon but always end up stopping at the 35-kilometer mark on several tries, you’ll never really know what it feels like to push through the last seven kilometers.

So, do yourself a favor and finish at least one track.

One.

And then another one.

And another …

Once you’ve done this a few times, you’ll have overcome the main hurdle that most electronic music producers face.

02/ Overproducing a sloppy arrangement

Arranging a house or techno track is all about managing energy levels.

It took me a while to figure out the proper way to do it.

Instead, this has happened to me more than once:

I came up with an arrangement, but I forgot about the tension and release thing we discussed earlier.

Although the track might sound good, it’s hard to keep listening if there’s no real curve of suspense.

Another shaker, another synth, ramping up the FX levels to keep it more interesting …

So, your track is more complex now, but the original problem still hasn’t been fixed: the arrangement is missing suspension.

To make matters worse, you’ve made it harder to mix your track because more elements need to be balanced.

Here’s what I suggest:

03/ Ignoring room acoustics & monitoring (huge for house/techno)

In the past, I went to great lengths in my old studio to mix tracks properly.

A bunch of bass traps and acoustic panels on the walls and ceiling were supposed to ensure that I could hear all frequencies linearly.

Even so, I had trouble mixing the low end of my tracks cleanly.

The model I still get along with best: the Hifiman Ananda Nano.

No other headphones have a low end as tight as these semi-open headphones.

There may be other headphones that sound smoother, especially in the high frequencies. But when it comes to house and techno, it’s simply essential that the low end is solid.

Another benefit if you’re used to working with headphones:

You can work on your tracks whenever and wherever you want without disturbing anyone.

My Headphone Weapon Of Choice: The Hifiman Ananada Nano

04/ Releasing without proper promo plan

I don’t know whether to laugh or cry when I see comments online like, “Artists shouldn’t have to promote their music. When it’s good, people will find it!”

No, they won’t.

Imagine picking up a stranger at a large airport.

“If he wants to be picked up, he’ll find me.”

The truth is:

He will only find you if you stand in front of the correct gate in the arrivals hall at the right time and hold up a sign with the arriving passenger’s name on it.

The same goes for music promotion.

You need to get in front of the right people and hold up your sign.

Hope alone isn’t going to get us very far, if you like it or not.

Whether or not you write a proper “promo plan” for your releases is up to you.

Otherwise, your tracks may be published, but they will remain unheard.

05/ Chasing “originality” instead of club energy

I still haven’t been able to get past that.

My goal is for my music to be, in a way, something special. I want it to sound different from everything else out there.

That’s why I don’t like to work with reference tracks.

If I have to imitate something that already exists, I don’t even feel like getting started.

When I create music from scratch, I want to be as free as possible in my artistic process.

However, there’s a risk of making music that sounds “interesting” but doesn’t work well in a club setting.

Because it’s just too far removed from what makes a house or techno track work on the dance floor.

As I said, I’m not always successful at it.

06/ Focus on tools instead on skills

This is a big one.

GAS, or gear acquisition syndrome, is a real problem.

It’s normal to want to try out different tools and always look for something that can make your music stand out.

Electronic music thrives on its producers’ love of experimentation.

Online music forums are full of people who are racking their brains over various tools, and some even openly admit that they barely get around to making music.

I still haven’t completely gotten my GAS under control, but at least it doesn’t stop me from producing and releasing a ton of music anymore.

When in doubt, keep reminding yourself what all those amazing things in your studio really are: tools.

Made for making music.

Bootshaus Club (Cologne)

07/ You’re not going to the club

A few final thoughts on clubbing.

It’s one thing to listen to electronic music at home.

You can only experience the full range of sound there, including the deep bass.

Good club music, as the name suggests, is made for the club.

That’s where it really shines.

Of course, it depends on your lifestyle, but you have to be able to afford a night out at the club.

By that, I mean less the financial investment and more the lack of sleep that comes with it.

If you’re currently raising young kids, you know what I’m talking about.

There’s hardly anything more inspiring and motivating than spending a few hours in a club listening to good electronic music.

Sequential Prophet 6 (Desktop Version)

Part V: Resources, Tools & My Latest Releases

Since it’s always interesting to know what tools other electronic music producers use, here’s a list of the gear I use.

This list isn’t exhaustive.

My gear is constantly changing – things come and go. I think that’s just a natural part of the process.

If you’re thinking, “Wow, that’s a lot of stuff”, just consider how long I’ve been producing music.

Over the years, it really does add up …

To help you understand the role each hardware and software tool plays in my productions, I’ve ranked them in every category from most used (top) to least used (bottom):

Hardware: Recording

• MacBook Pro M4 (2024)
• RME Fireface UC
• Apogee Groove
• Hifiman Ananda Nano
• Golden Age Audio Premier PRE-73 DLX
• Neumann KM184
• Motu M2
• audio-technica ATH-M50x

Hardware: Synths & Grooveboxes

• Elektron Digitakt II
• Sequential Prophet 6
• Sequential OB-6
• Moog Mother-32
• Elektron Syntakt
• Roland SH-01A
• Erica Synths Bassline
• Arturia Microfreak
• Elektron Digitone
• Yamaha Reface CP
• Moog Subharmonicon
• Moog DFAM
• 1010music Lemonbox
• SOMA Pulsar-23
• SOMA Lyra-8
• Behringer RD-9
• Behringer RD-8

Hardware: FX

• OTO BIM
• OTO BOUM
• Vongon Ultrasheer
• SOMA Cosmos
• Various guitar effects pedals

For Experimentation: My Small Modular System

DAW, Soft Synths and Sound Collections

• Ableton Live 12 Suite
• Arturia: V Collection & DX7
• Teletone Audio: Broadcast Piano, Oracle, Scarbo, Vespertone
• Felt Instruments: Bardzo, Blisko, Lekko, Nisko
• Spitfire Audio: Various Instruments
• Audio Realism ABL3x
• Native Instruments Absynth 6

VST Plugins (Effects & Mixing Tools)

• FabFilter Pro-C 3 & Pro-Q 4
• Newfangled Audio Articulate
• Oeksound Soothe 2
• Valhalla DSP: Delay, Plate, Room, SpaceModulator
• Voxengo: SPAN Plus, MSED
• Arturia Chorus DIMENSION-D
• Eventide H3000 Factory MKII
• Softube Tape
• Sonnox Oxford Inflator

DJ-Setup

• 2x Technics 1210MK7
• Ortofon Concorde DJ
• Allen&Heath Xone:96
• Sennheiser HD-25
• Genelec 8010 + Genelec 7040
• Evermix Box5

Other tools & resources

• Perla Audio: my mastering studio of choice
• iMusician: Swiss-based digital music distribution service
• Notion: digital workspace for note-taking and project management
• Hypeddit: music marketing and promotion platform
• Canva: browser-based graphic design platform
• MailerLite: digital marketing tool for email campaigns and landing pages
• Linktree: popular “link in bio” tool to house multiple links

Bochum Christuskirche

Where to find me and my music

• Magasine on Instagram
• Magasine on Bandcamp, Subvert
• Magasine on Beatport, Juno Download, Traxsource, Soundcloud
• Magasine on Spotify, Apple Music, YouTube Music, Deezer, Tidal
• Magasine on YouTube
• Still No Jazz on Instagram
• Still No Jazz on Bandcamp, Beatport, Juno Download, Traxsource
• Still No Jazz on Spotify, Apple Music, YouTube Music, Deezer, Tidal

What´s next?

If you enjoyed this guide, be sure to subscribe to my newsletter.

In future articles, I’ll be delving deeper into specific topics that I could only touch on briefly here.

I simply enjoy writing and love sharing my knowledge and experiences.

If you’re interested in that or just want to follow along on my journey as an independent electronic music producer, then my newsletter is perfect for you.

Thank you so much for sticking with me this far, and best of luck with your future releases!

Take care, Magasine

Der Beitrag The Independent Producer’s Guide to Releasing House & Techno Tracks in 2026 erschien zuerst auf Magasine.

Sorry for the somewhat clickbaity title because I know there are DJs who play my tracks (thanks for your support, guys!), but my claim here is:

When there are too many rules, it’s not about art; it’s about business

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 Newsletter #006 – Why nobody plays my tracks 😉 erschien zuerst auf Magasine.

New digital release with two solid house tracks:

1/ Come Again
2/ Diggit

Listen here

Mixed by Magasine
Mastered by Perla Audio

Der Beitrag Magasine – Come Again (Single Release) erschien zuerst auf Magasine.

It’s finally here: my first vinyl EP!

When I started releasing seriously about a year ago, I never expected to be holding my first record in my hands today.

Hence the title Unexpected.

Yet it had always been my dream. So, at the end of last year, I decided to release four tracks as an EP on vinyl.

Also to learn how the whole process surrounding a vinyl release works.

Of course you can’t do this on your own.

That’s why I’m grateful to Perla Audio for the excellent vinyl mastering.

And to Wax Distribution for handling the entire vinyl production process and worldwide distribution.

You’re welcome to listen to and order the EP on my Bandcamp page.

I also put together a page listing all the online shops that already stock the record.

In line with a ‘vinyl first’ strategy, this EP will initially be available on vinyl only. The digital release will follow later.

I’d like to thank everyone in advance who will be playing and listening to the record. I really appreciate your support

P.S. This is my first vinyl release, but it won’t be my last. There’s already another one in the making …

Tracklist:
A1/ Unexpected
A2/ Still Missing
B1/ Crash & Bang
B2/ Sheltered Place

Side A opens with the title track “Unexpected,” a hypnotic journey through evolving synths and crisp percussion.

Following seamlessly is “Still Missing,” a soulful cut infused with emotive melodies and rolling sub-bass.

Flip to Side B for “Crash & Bang,” which thrives on a hypnotizing polymeter figure over which intimate string sounds evolve.

The EP closes with “Sheltered Place,” a serene retreat of warm pads and playful percussion perfect for moody after-hours sessions.

Genres: Deep House, Tech House, Techno

Listen here

Der Beitrag Magasine – Unexpected (EP Vinyl Release) erschien zuerst auf Magasine.

I’ve started a new side project: Still No Jazz.

You can find the first release 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 Newsletter #005 – Releasing multiple genres under one artist name? erschien zuerst auf Magasine.

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 Newsletter #004 – There are two types of DJs erschien zuerst auf Magasine.

Listen here

Mixed by Magasine
Mastered by Perla Audio

Der Beitrag Magasine – Pressure erschien zuerst auf Magasine.

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 Newsletter #003 – Making music in the age of AI erschien zuerst auf Magasine.

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

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Der Beitrag Newsletter #002 – The art of long-form tracks erschien zuerst auf Magasine.

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Der Beitrag Magasine – People Will Like It erschien zuerst auf Magasine.