True Techno Podcast

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True Techno 110: Introducing Praecox. Jerzy Przeździecki’s Thirty-Year Journey Through Industrial Electronics and Buchla Sound

True Techno 110 arrives as both a mix and a map. Warsaw producer Jerzy Przeździecki, working across the names Praecox, Epi Centrum and his own, steps into the True Underground series with a recording that traces more than three decades of electronic music. Released in August 2026, the set gathers material from his principal projects and draws a clear line from the radical energy of 1990s Polish underground culture to the hardware-focused experimentation that defines his work today.

Key Takeaways

True Techno 110 was assembled by Jerzy Przeździecki as a purposeful passage through three production identities, successive eras of his career, and the shifting styles that formed his approach over thirty-plus years.
Buchla modular instruments, the Triple Morphing Filter and carefully controlled acoustic feedback networks provided the core tools for the dense, unsettled textures heard on his Epi Centrum releases for Trapez and Affin.
A new album under the name Jerzy Przeździecki, drawing on Detroit techno influences, is prepared for release on Poland’s IDO Records in autumn 2026.

Picture Warsaw in the 1990s: the National Stadium market thick with residual tension, heroin a visible presence on the streets, organised crime simply part of the city’s fabric. At the same time, strobe lights cut through LSD fog in clubs, illegal parties flared in surrounding forests, and the Academy of Fine Arts operated as a permanent engine of rebellious ideas. Cassette players ran constantly in the studios. Students staged events that regularly escaped official oversight. From that charged atmosphere stepped Jerzy Przeździecki, a producer who has spent his career refusing simple labels, moving between the identities of Praecox, Epi Centrum and his given name.

True Techno 110 captures that restless movement. The mix is not a standard selection of tracks but a carefully plotted route across thirty years of changing sound.

I have to admit I spent quite a bit of time thinking about its concept, especially in the context of my work as a producer. In the end, I decided to create a musical journey through my three artistic identities, different periods of my career, and the styles that have shaped my sound over the years. In the mix you’ll hear tracks by Epi Centrum, Praecox, and Jurek Przeździecki. I hope this journey through more than 30 years of my musical evolution will be enjoyable both for you and for the listeners, while also giving them a chance to discover the different dimensions of my work.

Post-communist Warsaw still carried the weight of the previous decades. Forest raves, specialist record shops and the Academy of Fine Arts together created an environment where radical thinking was everyday practice. Music filled every studio space. Inside that setting Przeździecki’s own direction took shape. Early listening had centred on punk and hardcore; those influences slowly opened onto Throbbing Gristle, Psychic TV, Nitzer Ebb and Cabaret Voltaire. The shift proved decisive. For the first time he felt compelled to produce original work and establish a personal voice. An Atari computer and a modest collection of machines became the tools for his first experiments.

The Academy also housed Blue Velvet, a network of basement rooms that absorbed him for days at a stretch. Events ran throughout the week and drew overlapping communities. There he encountered Tromesa, already respected on the international psy-trance circuit. The partnership that followed produced Bigwigs and launched years of worldwide travel. Viewed from the present, the progression feels continuous rather than accidental. Punk, industrial, psy-trance and today’s experimental techno each added another stratum to a single ongoing narrative. He has never sought membership of any one scene. The search has always been for an individual vocabulary.

The reason was very simple. Through Praecox, I had become strongly associated with psy-trance and psy-techno. That project was deeply rooted in the fluorescent aesthetics and culture of the psychedelic scene, which made it difficult for people to approach my newer music on its own terms. The music I was creating had very little to do with psy-trance anymore. So I decided to release my minimal techno work under my own name, Jerzy Przeździecki, while reserving Epi Centrum for the darker, heavier, and more experimental material. It was a way of bringing clarity to my artistic portfolio rather than separating my work into rigid genres. For me, these projects have always been different facets of the same artistic identity, not boxes defined by stylistic boundaries.

Industrial music supplied a foundational attitude rather than a set of surface sounds. Its refusal to compromise, its roughness and its readiness to confront the listener shaped his entire method. Early Praecox pieces such as Mechanikum and Minigram drew on machine rhythms, excerpts from horror and science-fiction cinema, and prepared violins. Acoustic feedback has remained a constant technique. Reverbs, delays, analogue filters or distortion units can all be pushed into self-oscillation by returning output to input under controlled conditions, generating organised disorder. One ongoing collaborative project is constructed entirely around the generation and sculpting of feedback. The inheritance from industrial culture was philosophical: energy, a doctrine of creation, and the conviction that sound itself can function as experiment and confrontation.

As the underground of the 1990s gave way to a more formal club network in the early 2000s, hearing his own productions played on club systems beside records by admired artists supplied both satisfaction and unforgiving feedback. Each night out became a lesson. He returned to the machines, adjusted, refined and advanced.

Initial wider distribution came through Damon Wild’s Synewave and Jacek Sienkiewicz’s Recognition. Both figures had lived in Warsaw; contact was almost inevitable. The 2009 EP Loop Pool appeared on Recognition. Damon Wild later reached out after hearing the record, beginning a connection that continues. Support from labels known for rigorous selection confirmed the value of his personal approach and encouraged further development.

True Techno 110 and the Practice of Multiple Identities

Running several projects at once in the mid-2000s required no complex technical separation. Entering the studio was closer to choosing a destination. Once the direction (Epi Centrum or Praecox) was set, listening habits and the hunt for particular textures, rhythms and emotional registers shifted accordingly. More frequently the choice arose from improvisation itself: a sound or unexpected event would declare its own affiliation. Emotion was allowed to lead, because the strongest results tended to appear when rigid control was relaxed.

Live performance methods have changed markedly. During the Bigwigs period, shows in Japan, Australia and South Africa relied on a 24-channel desk, samplers, synthesizers and a MIDI-linked computer, standard equipment for the era. Roughly fifteen years ago sets were almost wholly improvised; listeners rarely recognised material from the records and often requested more familiar pieces. Current practice uses two complementary systems. One pairs a compact modular setup with an Octatrack, the modular supplying unpredictability while the Octatrack holds loops and fragments that are continually reordered in real time. The other combines Octatrack and Digitakt II, presenting released tracks as stems while generating fresh sequences and arrangements on the fly. Both methods keep composition and spontaneity in productive tension. A concert should never simply replay the studio versions.

Buchla instruments formed the central architecture for work released on Trapez and Affin. Even amid the expansion of Eurorack, Buchla retains a distinctive sonic identity and working method. The instrument often resists simple, conventionally tonal results more stubbornly than complex, abstract ones, a quality Przeździecki actively welcomes, allowing the system to suggest directions he would not have chosen deliberately. Epi Centrum material for Trapez leaned on the Triple Morphing Filter’s capacity for dissonance; pieces such as Exponential Density and Crepuscular carry that unstable character. Affin releases centred on the Buchla Music Easel, a more immediately navigable instrument that nevertheless preserves the essential Buchla voice.

Material that reached Sven Väth’s Cocoon Recordings was never designed as straightforward club weaponry. By Epoxy in Burnout is restless and syncopated, content to wait for the precise moment in a set. Qwerty Poema moves in the opposite direction, more lyrical, reflecting a period of immersion in classical harmony. Both tracks had already been tested extensively in clubs and festivals. The sense of space and emotional weight found in Qwerty Poema continues to resonate in later work.

Nina Kraviz’s трип label reopened the Praecox chapter for both new listeners and the producer himself. What had felt like a closed phase found fresh life. The music emphasises hypnosis, unpredictability and extended phrases that dissolve before full resolution. Bass construction differs from other projects: multiple independent layers typically supply weight, motion and harmonic or textural colour simultaneously. Precise attention to phase and frequency placement produces physical depth on large systems that a single bass line cannot match.

Studio Methods, Improvised Collaboration and Continuing Direction

Work with pianist and composer Andrzej Karalow rests on shared commitment to improvisation. Albums Wir and Pedestal’s Complement emerged from extended free sessions that were later shaped through editing, treated as evolving blocks rather than layered constructions. Live performances remain entirely improvised. Przeździecki’s contribution frequently introduces contrast, the piano’s fragile expressiveness set against the unstable, distorted character of the Buchla Music Easel, so that the two voices challenge and complete one another.

Routine is deliberately disrupted. Several ideas are kept in motion at once; when progress stalls on one, attention shifts elsewhere. Starting points are never predetermined. A rhythm, a sequence or hours of open Buchla improvisation can each launch a piece in an entirely different direction. Even the sequence of decisions alters the final character. Self-imposed limits sharpen invention. Current experiments restrict the palette to a single instrument, the Roland SH-101, testing how much depth can be extracted from one voice.

Mixing begins with the room. Accurate monitoring in a treated space outweighs any individual piece of equipment. The conceptual priority leans closer to high-fidelity listening than to functional club sound, though dancefloor effectiveness remains important. Each element is treated as a participant in a conversation that must remain clear and purposeful. Microscopic details, faint movements, quiet textures, are retained as invitations to repeated listening.

On stages from South America through Europe to Asia, especially at large outdoor festivals, the performance system must be dependable above all. Soundcheck permits fine adjustments to the room and PA, yet the underlying requirement never changes: equipment must be robust enough that attention can remain on the music and the audience rather than on technical survival.

Across more than twenty years the core impulse has stayed constant: the wish to surprise himself and the simple curiosity about what happens when a particular control is touched. Originality remains non-negotiable. Intuition is trusted over calculation. The studio functions as a place of exploration rather than production quotas. Tools evolve; the underlying aim does not, to remain honest to personal direction and to produce work that brings genuine satisfaction.

Large Kimono, released as Praecox on Ellen Allien’s BPitch Control, was shaped as an unrestricted statement of artistic feeling and a direct challenge to algorithmic systems and homogenised club culture.

In my creative process, I deliberately avoid tools that make artistic decisions for me. Artificial intelligence can be incredibly useful, and I value it as a technology, but in the studio I remain the creator and the final arbiter of every decision. Despite AI’s extraordinary rate of development, I believe that emotional judgment is still uniquely human. The ability to shape, recognize, and communicate emotion is what gives art its meaning—and what continues to define our value as creators. From the very beginning, Large Kimono was conceived as an uninhibited expression of artistic emotion. In many ways, it’s also a provocation aimed at contemporary technology—a question addressed to the mythical “system”: Can you do this? This album is built from everything that has shaped my artistic sensitivity over decades: intuition, lived experience, accidents, contradictions, and emotions accumulated over a lifetime. These are things that no language model or generative system truly possesses. The tension between accident and order, unpredictability and intention, softness and rawness—this is where my music lives. That’s the system I build. Not an algorithm, but a human one.

The record was complete before contact with Allien. Ten finished tracks simply required a suitable home. A concise Instagram message produced a rapid reply and, in time, the BPitch release. Allien’s input focused mainly on choosing four pieces for the vinyl edition, the same four that held the strongest personal significance for the producer.

Authentic creation, in his view, demands a form of productive friction: the willingness to interrogate every decision and discard work that falls short. The principal difficulty with Large Kimono lay in resisting shortcuts and sustaining the patience required to reject the merely adequate until something lasting appeared.

In autumn 2026 a full-length album on IDO Records will gather material recorded under the name Jerzy Przeździecki. Several tracks date from three to five years earlier and have been revisited, remixed and remastered. Tempos sit around 134 BPM. The collection draws on classic Detroit techno qualities (rawness, openness, spatial depth) while remaining stylistically varied. It functions less as a pre-planned concept and more as an archive of accumulated feelings and observations.

I think the strongest connection this album can make across generations is authenticity. Not its tempo, not how closely it follows current trends, but the simple fact that it reflects who I am. There’s no performance, no pretending to be someone else. Age is never a barrier if the person on the other side is willing to listen with an open mind. Emotions don’t belong to a particular generation – they don’t have an expiration date or an age limit. Creating music that is driven by emotion requires faith: faith that those emotions will eventually find someone and provoke a genuine response. For me, making music has never been an end in itself. It’s a tool that can lead to something more meaningful – a change in the way someone feels, thinks, or experiences the world. Everyone experiences that change differently, but that’s exactly what gives music its purpose for me. The possibility of moving people, awakening emotions, and giving meaning to an experience is what continues to make creating music worthwhile after all these years.

True Techno 110 presents that continuity in audible form. Across one continuous sequence, Praecox, Epi Centrum and Jurek Przeździecki speak together, three decades of evolution compressed into a single, living document.

Check out all editions of True Techno podcast here.

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Petru KSS: Raw, Hypnotic and Pure on True Techno Podcast 109

Corsican electronic music producer PETRU KSS delivers an expertly curated 33-track set for True Techno Podcast 109, released on 24 June 2026. The broadcast integrates his performance philosophy with material from his debut album, Kolibri Live LP, recorded during a continuous live take at sunrise on a remote Corsican hilltop. His long play anchors his hardware-centric framework developed under the mentorship of Richie Hawtin at the University of Huddersfield.

Key Takeaways

PETRU KSS developed the THRiPPS performance system while holding the Richie Hawtin PhD Scholarship in Electronic Music at the University of Huddersfield.

The debut album Kolibri Live LP acts as the central proof of concept for this ongoing live performance research.

True Techno Podcast 109 performance compresses a multi-hour club timeline into a focused 60-minute intense progression.

His core aesthetic framework WYHWYT completely removes digital screens and mouse interaction from the live workflow.

The album’s raw multi-track recordings were engineered by Hannes Bieger and mastered by the Calyx engineering team to preserve performance volatility.

PETRU KSS anchors True Techno Podcast 109 with a performance that highlights his hardware-focused sonic philosophy. This broadcast represents his deep technical expertise into standard club environments. By prioritizing narrative flow over standard club trends, his curated selection creates a direct link between his live energy and club dynamics.

The performance directly expands upon his debut long-player, Kolibri Live LP, which was recorded under extreme environmental constraints. For the album, PETRU KSS carried his production setup up a remote Corsican hillside in total darkness to capture a continuous sunrise take. Managing heavy equipment in shifting temperatures and high humidity introduced random variables that actively shaped the recorded material.

“The whole set is alive because I felt alive. Past the preparation, physical effort, low error margin related to time and setup, when the set starts, it would just be ‘finally, it’s time to enjoy!'”

The structural backbone of this project relies entirely on THRiPPS. This structural methodology stands for Techno Hardware-centric, Real-time, Improvisation, Production and Performance Study. PETRU KSS refines this practical framework at the University of Huddersfield as the inaugural recipient of the Richie Hawtin PhD Scholarship.

PETRU KSS: Raw, Hypnotic and Pure on True Techno Podcast 109

The academic endorsement provides a structured platform to examine how professional touring acts interact with hardware instrumentation. His workflow prioritizes real-time decision-making, which intentionally opens the performance to technical risk. Rather than correcting unstable analogue oscillators or unexpected resonance spikes, these elements remain embedded within the arrangements.

This rejection of digital optimization defines his primary performance motto, WYHWYT. The acronym translates directly to What You Hear Is What You Touch, establishing a firm boundary against screen-heavy workflows. His physical configuration relies on machines like the Analog Rytm, Moog Minitaur, and Dreadbox Typhon to construct a comprehensive club environment without a computer mouse.

“Those perfectly imperfect moments, slightly drifting oscillators and unexpected resonances, these are part of a live performance DNA, and represent a human risk that AI-driven music simply cannot replicate.”

Following the initial live tracking phase, PETRU KSS delivered the multi-track files directly to Hannes Bieger for mixing. The tracking stems then went to Calyx for final audio mastering to guarantee competitive club translation. The finished material stands as a clear alternative to the polished studio outputs and automated arrangements defining the 2026 techno landscape.

His neurodivergent traits serve as a critical functional asset during high-stakes hardware improvisation. The physical layout of separate control surfaces triggers a state of deep hyperfocus during complex sequences. Removing deep software submenus limits external distraction, satisfying the neurological requirement for physical motion and direct acoustic feedback.

“Adrenaline triggers a state of hyperfocus for me and my neurodivergence allows me to forget everything else when I have a specific goal in mind, translating into laser-sharp focus and resilience. The physicality of a hardware setup reduces the friction and distraction I’d get from a mouse and a screen.”

PETRU KSS balances these raw hardware improvisations with standard club curation, drawing on over two decades of traditional DJ experience. His contribution to True Techno Podcast 109 condenses an extended electronic narrative into a precise sixty-minute club window. The podcast documents an authentic human take, preserving real performance tension within a structured digital format.

Techno Hardware-centric Performance Framework

The continuous evolution of his imprint, Kolibri Space Shuttle Records, guides the broader narrative of the project. The label operates on thematic pillars of space aesthetics, cinematic sound design, and raw live tracking. This platform enables PETRU KSS to expand his academic findings into collaborative remix packages and community-led production contests.

By inviting outside artists to reinterpret his raw stems, the label establishes a system of shared authorship within underground techno. High-profile support from long-standing industry figures provides crucial validation for his physical production theories. This ongoing industry exposure builds a foundation for his upcoming tour dates and future studio album concepts.

The THRiPPS architecture will continue to guide his academic commitments and university lectures over the next eighteen months. This balanced combination of educational theory and direct club application establishes a functional blueprint for future hardware performers. As his tracking setups adapt, the central objective remains focused on human intuition over mechanical perfection.

True Techno Podcast 109 Tracklist

01. US and SPARKLES – It Was Already In Me
02. NEW JACKSON – The Night Mail [POGO]
03. LANNY MAY – Everyday Objects [Maripoza]
04. JABBA 2.3 – What do you want [Sinchi]
05. PARDON MOI – Power to the People (Damon Jee Remix) [Roam]
06. GAT SDR – Undeniable truth
07. NIHAD TULE – Mitologem [Sloboda]
08. ALINEP – Werpa [Sleaze]
09. Helvetic Nerds – Senegal [PinkStar]
10. EXTRAWELT – Arctic Dead Run [Cocoon]
11. PHILIPPE PETIT – The Dub Sessions 04 [Knotweed]
12. SIMPLE SYMMETRY – Gilgamesh feat. Inigo Vontier [Disco Halal]
13. VKN MODULAR – Spacial Interferences [Planet Rhythm]
14. PETRU KSS – Trieuoppa [Kolibri Space Shuttle]
15. ANDERS – Defence Mechanisms [Devotion]
16. SCHEERMANN – Riba [Sammler]
17. KWARTZ – Contortion [Clergy]
18. PETRU KSS – Liminal Orbit (Alinep and Mica Remix) [Kolibri Space Shuttle]
19. ALLANA LETM – Dança Macabra [Grab The Groove]
20. SKUNGAL – The White Silence [Khazad]
21. FORMSHIFT – Push x Pull [HardElectronic]
22. SHEDZ – Reciprocator [Khazad]
23. GAT SDR – Unrelated Topic
24. PIG & DAN – Terrax [Drumcode]
25. CARL SHORTS & 909 RIOT – Mad WOW [Resilient]
26. LEN FAKI – BX 3 [Ostgut Ton]
27. SKUDGE – Air Walk [Skudge]
28. AYDN; BALROG – System Failure [Khazad]
29. ALEXANDER KOWALSKI – Live 2.2 [Cycles Music]
30. 909 RIOT – Know That [Khazad]
31. NESS – Uchronia [Rising]
32. PERT – Golazo [Vexed Grooves]
33. SAYTEK – The 90s Method (Live) [Danke]

Petru KSS continues to develop his comprehensive performance framework through global club appearances and ongoing label showcases.

Petru KSS FAQ

Who is Petru KSS?

Petru KSS is a London-based Corsican electronic music producer and the founder of Kolibri Space Shuttle Records.

What does the acronym THRiPPS mean?

THRiPPS stands for Techno Hardware-centric, Real-time, Improvisation, Production and Performance Study, which serves as an ongoing academic framework.

Which artist awarded the PhD scholarship to Petru KSS?

Richie Hawtin selected Petru KSS as the recipient of the PhD scholarship at the University of Huddersfield.

Where was Kolibri Live LP recorded?

The full album take was completed in a single continuous session on an outdoor hilltop location in Corsica at sunrise.

What is the meaning of the WYHWYT motto?

The acronym stands for What You Hear Is What You Touch, a performance philosophy built entirely on physical hardware controls.

Who engineered the mixing stage for Kolibri Live LP?

Hannes Bieger managed the mixing process for the analogue tracking stems, and Calyx executed the final mastering stage.

What hardware instruments are used in the THRiPPS workflow?

The mobile configuration utilizes an Analog Rytm, a Moog Minitaur, and a Dreadbox Typhon synthesis engine.

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"articleBody": "Corsican electronic music producer Petru KSS delivers a fully hardware-improvised performance for True Techno Podcast 109, released on 24 June 2026. The broadcast integrates his performance philosophy with material from his debut album, Kolibri Live LP, recorded during a continuous live take at sunrise on a remote Corsican hilltop. This recording anchors his hardware-centric framework developed under the mentorship of Richie Hawtin at the University of Huddersfield. Petru KSS anchors True Techno Podcast 109 with a performance that highlights his hardware-focused sonic philosophy. The broadcast represents a direct implementation of his academic research into standard club environments. By prioritizing physical contact over software interfaces, his performance layout creates a direct link between physical movement and electronic sound modulation. The performance directly expands upon his debut long-player, Kolibri Live LP, which was recorded under extreme environmental constraints. Petru KSS carried his production setup up a remote Corsican hillside in total darkness to capture a continuous sunrise take. Managing heavy equipment in shifting temperatures and high humidity introduced random variables that actively shaped the recorded material. The structural backbone of this project relies entirely on THRiPPS. This structural methodology stands for Techno Hardware-centric, Real-time, Improvisation, Production and Performance Study. Petru KSS refines this practical framework at the University of Huddersfield as the inaugural recipient of the Richie Hawtin PhD Scholarship. The academic endorsement provides a structured platform to examine how professional touring acts interact with hardware instrumentation. His workflow prioritizes real-time decision-making, which intentionally opens the performance to technical risk. Rather than correcting unstable analogue oscillators or unexpected resonance spikes, these elements remain embedded within the arrangements. This rejection of digital optimization defines his primary performance motto, WYHWYT. The acronym translates directly to What You Hear Is What You Touch, establishing a firm boundary against screen-heavy workflows. His physical configuration relies on machines like the Analog Rytm, Moog Minitaur, and Dreadbox Typhon to construct a comprehensive club environment without a computer mouse. Following the initial live tracking phase, Petru KSS delivered the multi-track files directly to Hannes Bieger for mixing. The tracking stems then went to Calyx for final audio mastering to guarantee competitive club translation. The finished material stands as a clear alternative to the polished studio outputs and automated arrangements defining the 2026 techno landscape. Petru KSS moves fluidly between fully improvised hardware live sets and traditional DJ performances. His True Techno Podcast 109 contribution condenses an extended electronic narrative into a precise sixty-minute club window. The podcast documents an authentic human take, preserving real performance tension within a structured digital format. The continuous evolution of his imprint, Kolibri Space Shuttle Records, guides the broader narrative of the project. The label operates on thematic pillars of space aesthetics, cinematic sound design, and raw live tracking. This platform enables Petru KSS to expand his academic findings into collaborative remix packages and community-led production contests. By inviting outside artists to reinterpret his raw stems, the label establishes a system of shared authorship within underground techno. High-profile support from long-standing industry figures provides crucial validation for his physical production theories. This ongoing industry exposure builds a foundation for his upcoming tour dates and future studio album concepts. The THRiPPS architecture will continue to guide his academic commitments and university lectures over the next eighteen months. This balanced combination of educational theory and direct club application establishes a functional blueprint for future hardware performers. As his tracking setups adapt, the central objective remains focused on human intuition over mechanical perfection. Petru KSS continues to develop his comprehensive performance framework through global club appearances and ongoing label showcases.",
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The post PETRU KSS – Raw Hypnotic and Pure | True Techno Podcast 109 appeared first on True Underground.

© 2026 True Underground. All rights reserved.

Kadric True Techno Podcast Edition Links Bern’s Raw Underground Scene

Swiss techno producer and Solid Dark label co-owner Cédric Mokus, performing under his Kadric moniker, has delivered the latest edition of the Kadric True Techno podcast directly from the underground circuit of Bern, Switzerland. This hard-hitting audio presentation showcases his evolution from early minimal rhythms into a heavy, peak-time sonic blueprint. By positioning raw hypnotic power at the centre of the mix, the execution addresses a growing regional demand for immersive, compromise-free dancefloor movements.

Music became a core element of the producer’s identity during his school years, spent composing original works and performing in traditional bands. A pivotal club night in Bern redirected that creative focus entirely toward electronic frequencies. His initial venture into production arrived via the minimal tech project Krafteck, capturing international attention with releases on prominent labels including Reload Records, Hungry Koala, DC10, and Doubsquare Records. The early track Madness climbed to number 98 in the Beatport Minimal Techno chart, establishing a technical foundation that would later undergo a radical transformation.

In 2019, Mokus closed the minimal chapter to launch his current identity. The transition reflected a calculated shift toward a weightier, more menacing sonic territory, mirroring the hardening preferences of the broader European club scene.

“The transition was less about leaving something behind and more about a natural evolution of my artistic vision,” Kadric explains. “Over time, my taste shifted more and more towards darker, hypnotic and high-energy sounds. At the same time, the Swiss underground scene evolved, creating a growing demand for intense, emotional and immersive dancefloor experiences. Kadric gave me the opportunity to fully embrace that direction and express my creativity without limitations.”

This pursuit of creative freedom is evident in his role within Solid Dark, an autonomous imprint co-founded by Kevin Stäger (Kevqube) and David Kawka, with further input from Juan Vasquez (Dee Jota). The label has rapidly expanded its footprint, issuing the comprehensive 13-track Hypnosis 1 compilation. Kadric contributed the heavy composition Parallax to the release, a production designed explicitly to push club monitoring systems to their structural absolute limits.

“With ‘Parallax’, the dancefloor impact was the main focus from day one,” Kadric says, breaking down his studio architecture. “The foundation of the track is the relationship between the kick and the bassline. The goal was to create a deep, powerful yet controlled low-end that works on any sound system. Every percussion layer, texture and sound was carefully placed to support the hypnotic flow of the track.”

Managing such dense frequencies requires strict discipline during the mixdown process, ensuring that sharp synth stabs cut through highly compressed sub-bass lines without causing acoustic fatigue.

“The most important aspect is balance,” Kadric notes. “It is not about making elements louder, but about giving each sound its own space within the frequency spectrum. At the same time, it is very important to me that my productions remain recognisable and that listeners immediately know there is a Kadric track behind the sound.”

The success of this approach is validated by his chart history and industry backing. His single Pressure reached number 82 on the global Beatport Techno charts, and his studio output routinely receives performance support from high-tier industry mainstays including Adam Beyer, Chris Liebing, Charlotte de Witte, Amelie Lens, Pan-Pot, Spartaque, T78, and The YellowHeads.

Preserving Counter-Culture Mechanics on the Physical Floor

The curation on the new podcast functions as an extension of the programming principles utilized by the Solid Dark collective. The crew balance intimate basement club showcases, such as their recent residency at Sous Soul Bern, alongside massive public spectacles including an upcoming 36-hour non-stop warehouse rave at the Berner Stadtfest on June 19th. This wide spectrum requires an advanced understanding of energy pacing and crowd communication.

“The biggest difference is energy management,” Kadric observes. “In an intimate venue like Sous Soul, you can take more time, build tension slowly and guide the crowd deeper into a musical journey. At a festival, the communication with the audience needs to be more direct.”

While maintaining a demanding schedule that includes balancing family life with running an online marketing agency and an e-commerce business, Kadric approaches music through a lens of strict purity. The selection across this podcast avoids passing internet trends, focusing instead on long-term narrative depth, soul, and structural pressure. It serves as a direct reflection of a career built on Swiss stages like X-TRA Zürich, Wankdorf Eventhalle, Gaskessel Bern, Hive Zürich, Elysia, and the Zurich Street Parade.

“The DJ’s role is to embrace the atmosphere and guide the crowd through a journey,” Kadric states. “It is no longer about individual tracks, but about moments, emotions and shared memories.”

Listen to all latest True Techno Podcast editions here.

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The post Kadric – Hypnotic & Hardgroove | True Techno Podcast 108 appeared first on True Underground.

© 2026 True Underground. All rights reserved.

DEAS on Resisting Industry Commercialisation

In an exclusive interview for Change Underground Polish techno producer DEAS (Karol Mozgawa) addressed the commercialisation of modern club culture and discusses his hardware production methodology. In this exclusive feature for true techno podcast 107, broadcasting from his studio base in Krakow, Poland to the global underground community. Greek-born and Poland-based, DEAS has carved an uncompromising path from local residencies at Smolna and Tama to international stages including Awakenings, Extrema, and E1 London. With a sonic footprint spanning CLR, ARTS, and Planet Rhythm, his output remains fiercely rooted in hypnotic grooves, live hardware interaction, and an uncompromised artistic vision. We sat down with DEAS to talk analogue obsession, the evolution of his sound, the expansion and occasional dilution of the global techno scene, and why authenticity still matters more than follower counts.

Hardware Journeys and One-of-a-Kind Grooves

DEAS has long held a reputation as a dedicated hardware specialist, though his relationship with machinery is more collaborative than dogmatic. While software plays a functional role in his workflow, the driving energy of his music stems from the tactile, unpredictable feedback loops of physical gear. He approaches music production not as a rigid programming exercise, but as an unfolding journey where the final track acts essentially as a natural side effect of the physical process.

This hands-on methodology yields tracks and DJ sets with a distinct, lived-in texture; hypnotic, precise, yet continually inventive. It is groove-focused techno built for long-form dancefloor immersion rather than instantaneous algorithmic satisfaction. His recent Drifted Off EP on ARTS showcases this ongoing structural evolution, weaving spoken-word elements and subtle melodic layers into his signature driving atmospheres without altering his core artistic trajectory. Rather than attempting to reinvent the wheel, his studio work focuses entirely on introducing sharp internal surprises while staying true to an idiosyncratic musical vision.

The Scene: Growth, Spectacle, and Soul

The global expansion of techno has undoubtedly broadened the audience for underground sounds, a reality DEAS acknowledges as a major benefit for emerging artists and independent labels. However, this mainstream saturation brings an inevitable compromise: the transformation of club culture into visual spectacle. Across international circuits, events increasingly prioritise sensory distraction over sonic depth, shifting the focus away from the music itself.

This commercial transition forces electronic music figures into a compromise between performance and digital marketing optimization. DEAS rejects the contemporary pressure to treat music as an optimized commodity, drawing a clear line between the responsibilities of a creator and those of a digital marketer.

“My approach to art in general is not focused on constantly trying to make it ‘sellable’,” he notes. “I am not a content creator; I see myself as an artist. An artist creates what they feel… they don’t ask the audience what they expect from them.”

This strict boundary dictates how he reads crowd energy across different territories. While some international hubs lean heavily into the curated show, others preserve the raw musical connection that initially defined the subculture.

Fake Things and Scene Authenticity

This tension forms the thematic core of his Vibrations EP on Planet Rhythm, highlighted by the pointedly titled track “Fake Things.” Released in early 2026, the project lands amidst ongoing industry debates regarding inflated social metrics, bought followers, and the rise of the manufactured profile. While DEAS leaves the track open to individual interpretation, the critique of a scene dominated by artificial engagement remains apparent.

Despite the distortion of booking ecosystems by digital algorithms, he notes that experienced promoters are increasingly looking past superficial data. Metrics do not guarantee real-world ticket sales or dancefloor command, a reality that offers a baseline of hope for authentic talent. For emerging producers looking to establish themselves within this dense landscape, his perspective remains resolutely anti-formulaic.

“It’s not a matter of giving anyone advice,” he states. “I do what I do because I can’t live any other way. So if you feel that kind of inner need, then go for it.”

This intrinsic drive remains critical, particularly as studio craftsmanship and stage command demand fundamentally different technical strengths.

Looking Forward

The future of the genre relies heavily on localized resistance to corporate curation. DEAS finds inspiration not in major festival trends, but in independent collectives establishing intimate events in unconventional spaces, alongside the specialized developers building new production tools. For those seeking an entry point into his catalog, his work on Chris Liebing’s CLR or the hypnotic structures of “Geeks On Hubbard” serve as ideal foundations; best experienced with minimal external distractions, letting the machines dictate the narrative.

In an era dominated by superficial noise, his focus remains entirely on the preservation of a grounded, analogue path. It is this refusal to compromise that ensures his grooves continue to cut through the industry layout.

Check out other True Techno episodes here.

Frequently Asked Questions

What does the studio work of Deas focus on?
Rather than attempting to reinvent the wheel, his studio work focuses entirely on introducing sharp internal surprises while staying true to an idiosyncratic musical vision.

What is the perspective of Deas for emerging producers?
“I do what I do because I can’t live any other way. So if you feel that kind of inner need, then go for it.”

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The post DEAS – Raw, Hypnotic and Pure | True Techno Podcast 107 appeared first on True Underground.

© 2026 True Underground. All rights reserved.

The Psychology of the Reset: Juheun’s Mission for the Underground

Juheun’s trajectory is a study in creative survival. After over a decade performing as DJ Tranzit in the American house scene, he faced a choice: continue playing tracks he didn’t like to satisfy a commercial bottle-service culture, or return to the “faceless” roots that originally defined his love for electronic music. His return to techno was a reclamation of mental health and artistic clarity, a move away from the “noise” of social media influencers and toward the raw, mechanical soul of the machine.

“With so much noise these days coming at us from social media, influencers, and AI… it’s very easy to get lost and forget why we are here in the first place. It’s always been very important to stay grounded and focus on the music. Sometimes the easy way out is to follow trends, but that doesn’t do anything for you in the long run.”

This grounding is maintained through a rigid discipline system. In an industry that demands constant output, Juheun relies on a “dialled-in schedule” to prevent the burnout that comes from constant comparison. He views the studio as a laboratory where he controls electricity—converting vibrations into futuristic frequencies. Yet, he is quick to identify the trap of repetition; for Juheun, innovation isn’t just about adding new sounds, but knowing when to strip everything back to its fundamentals.

“Learning to become a good producer is knowing when to stop, and knowing when its time to shift gears or even give up on an idea. One of the best studio tips I’ve gotten is to start deleting parts and pieces when you hit a dead end. Even just muting channels and stripping it all back down to its fundamentals have done wonders.”

Juheun’s perspective on the “business layer” of the industry is equally uncompromising. He views the current ecosystem as one that has devalued the art form through over-accessibility. From over-produced events with “a million lasers” to the “AI-generated slop” infiltrating playlists, he sees a desperate need to return value to the music itself. His solution is a structural reset: raising the cost of music to force a more curated, appreciative relationship between the listener and the artist.

“We need to bring value back to music. I think its time to raise the prices on music a little. Even doubling the cost of a single song from $0.99 to $2.00 can make a huge difference… if we are not taking care of the musicians and producers who create the music, then we would be left with nothing but generic AI generated slop.”

His mix for True Techno 106 is an extension of this mindset—a pursuit of “timeless techno” that stands apart from the peak-time trends. By weaving his own unreleased live IDs, like ‘Lets Dance’, with the deep, hypnotic selections of Phil Berg and Modeselektor, Juheun provides a glimpse into a future where the music—not the brand—is the catalyst for connection. It is a reminder that once the current bubble bursts, the underground will remain, sustained by those who were there for the right reasons all along.

“Techno has always been a bit mysterious to me. Back in the day, it was a song title and an obscure name… it was really just about how hot the record was instead of the reverse. This is what makes it so special. Listen to the music first.”

Tracklist

Civil Servant – Into The Unknown (Juheun Remix)

Troy – Ishi No Medama (Original Mix)

Regent – Arcane (Original Mix)

Toobris – Tomorrow is Gone (Original Mix)

Modeselektor – Blockchain (Original Mix)

Juheun – Lets Dance (Original Mix)

Hertz, Oscar Escapa – Eternal Groove (Original Mix)

Khabiar – It Depends ON (Original Mix)

Oscar Sanchez – Selective Memory (Original Mix)

Phil Berg – Sappho (Original Mix)

Frank Biazzi – Open Your Eyes (Juheun Remix)

Kulage – Nord (Original Mix)

Simone Zino – Momentum (Original Mix)

Klint – Calibre (Original Mix)

Listen to all editions of True Techno 

True Techno FAQ

Which tracks did Juheun use in his True Techno mix?
Juheun’s mix features a blend of high-precision techno including his own remix of Civil Servant’s ‘Into The Unknown’, his unreleased live track ‘Lets Dance’, and his remix of Frank Biazzi’s ‘Open Your Eyes’. The set also incorporates tracks from Modeselektor, Phil Berg, and Oscar Sanchez.

What is Juheun’s philosophy on the current state of techno?
Juheun advocates for a return to the “faceless” roots of techno, where the music carries more weight than the brand or social media presence. He believes in bringing value back to music by potentially increasing prices for digital singles to support independent artists and curb the influence of generic, AI-generated content.

How does Juheun approach studio production and sound design?
Juheun employs a rhythm-centric, tactile approach using hardware like the Moog Sub 37. He treats synthesizers as tools to control electricity and convert it into frequencies, often stripping tracks back to their fundamentals when a creative wall is hit to maintain a raw, hypnotic sound.

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The post Juheun – Robotic Soul & Underground Philosophy | True Techno Podcast 106 appeared first on True Underground.