It's a very good producer. I think he could produce everything. I think he would be able to produce a really great pop song.
So it's really one of the things that is very important to understand the technique.
For me, the excitement in the sound of Niklas or the Pike solo is that you can't really put it into a splat.
Melodic at times, a bit angry at other times, a bit crazy, but not too crazy.
I think the sound has changed quite a lot.
On the one hand, he also has different projects, so you can't really say that about a camshare.
The sound of Niklas is, for me, very sexy, I think it grows relatively well.
It's not so Remy Demi, but he's already very intelligent, but he also brings her to dance.
And that's a good mixture, I think.
His own, electronic of course, and deep.
When I hear the Pike, I associate it with one of the best live acts for me at all.
I've seen it worldwide, not just for Thuringia or Europe, and a pretty long story.
I grew up in the GDR, and of course it's relatively hidden, and for me, the turn came at the right time.
To think freely and to ask questions that might not have been so desired before the turn.
That was the strongest influence I could have.
We're here in the garden of my parents, who haven't been here for 15 years.
I've been here for a long, long time.
The nature has brought it all back.
Here we actually made the first parties, where you heard techno, where a techno marathon was introduced,
where it was about how long one can dance.
We stood outside and the boxes were there.
We divided it in half.
There is actually no one in which you disturb in a circle of three kilometers.
It's a very important place for me, because we were a small, scattered group.
We spent a lot of time here.
Yuki is on the block.
At that time, there were really 20 people in there.
When it was winter, we were at the fireplace and the boxes were in the corner.
Dieter was in the corner or stood in the corner, depending on how long the party went.
Then it went very round.
In the 90s, there were many, many big rave parties in warehouses or in old factories.
There was a lot of empty space after the turn.
You got back to it legally and said, okay, I know someone.
I can have an old warehouse for an evening.
You put in a warehouse.
Mostly no heating.
Mostly in winter, something clear and cold.
It was always damp in my memory.
Then a fog was blown in and a strobe was applied.
There was techno.
It was also our childish idea when you were 15 or 16, how techno to be.
That it was actually only strobe-like.
The music is incredibly loud and hard.
Everything else must not be pleasant, because we are underground.
It was all very dull, but you quickly realized that you have an interest in playing music for people.
To influence the music in the evening and the mood of the people.
And to lead and lead something like that.
But that was of course all very, very, very far away.
If you go exactly in the middle between Berlin and Frankfurt,
if you grow up there and are actually too young to go to techno parties,
there was actually no one in our region.
The great thing about techno was always that you had the feeling that you could do it yourself.
You only heard that they have the computer and then they do that and that.
And they have this program.
At that time everything was insanely expensive and far away.
And as a teenager you didn't have the money, but it still seemed more tangible
than having to practice piano for 15 years or having to have a voice that you didn't have.
And it was just close to it.
And it just happened when this sampling came up and when you got it.
Ah, you can record every tone there and you can process it.
Of course, it was interesting and you just somehow, I just tried to get it out somehow.
With newspapers.
How did they produce it? How did it come about?
You just realized that you wanted to do something, just continue.
Because you could do something.
And with the new program, Cakework Apprentice,
I was able to start a small little experiment with my first computer.
It was of course
coherent and sound horror, but you could just press the keys and you tried to arrange it.
Ah, and that's in the snare drum.
That wasn't explained yet.
And you quickly realized that you wanted to do more and more.
And while other computer games played, I played my computer game, which made music, so to speak.
The last time you did something with Eva, I thought it was pretty good.
It was a little bit different, and the others were dancing and so on, and I think it's pretty good.
In any case, you can hear the music that can produce in all directions.
And, well, it continues to develop, of course.
In the course of time, when you do it 20 or over 20 years, there are of course changes in the whole story.
I started with this hard-trance, that's the term today, the shuttles.
But back then it was a credible, okay music.
And I started with something like that.
I started with drum and bass and breakbeat, and then I noticed that there was no market for us.
No one really wanted to hear it. I didn't have contact with labels.
So it was the easiest thing.
I almost got out of a trot reaction and my breakbeat title, which was 145 BPM,
was just a kick drum, and suddenly the people danced to the same pieces.
I thought, okay, and then suddenly we were in such a bright techno sound,
a harder experimental techno sound.
That was the end of the 90s, I would say, the 697.
And then it went on and on and on.
Then there was this shunt corner, where I also participated a little bit.
I think the first record on the Musferi was also still so hard techno.
But that was never really my thing.
That was actually too wild for me.
And I always wanted to have a quieter, more groovy sound.
And then there was this electro wave at the beginning of the millennium,
where I noticed, okay, that's where you need women's voices.
Eva always had vocals for me, for example.
She said, no, no, no, no, you can build something out of it.
And then with the project of Pajko Patberg, which we started in this electro wave,
we then took a little bit of this influence over to electro.
And then there was a big, minimal wave.
And that's when I thought, okay, that's the stuff I wanted to do all the time.
I'm totally jealous. You can work with breakbeats.
You can take all the influences you have with it.
But it's just a groovy, groovy sound, so to speak.
And that was my thing.
And I think I'm still there until today.
But when you think about what that was for a choir, what that was for a wave,
at the time, I think that's good.
And I think up to today, you can still hear something from every genre I've ever written.
It's not so easy to describe the sound of Niklas, because Niklas is very versatile
and he also has several projects.
And you notice his great knowledge of what electronic music is about.
So he can do softer things and with Eva, he's also very...
with singing and playing melodies.
And then there's also the hard techno sound of Niklas.
In this case, it's really difficult to describe him.
And I think that makes it even more audible what he's playing.
I don't know every production of Niklas now, but I can still say that the sound
has definitely been refined.
I also think that Niklas, like many of his colleagues or me,
that you already have the opportunities that you have today
and also the experience that you have, that you kind of fall in love with detail.
And Niklas makes it very elegant.
When you think that I started working with music in 1993,
it's already crazy.
I think I've had continuous demos for the first seven years,
sent them to labels and of course never received feedback.
I think once or twice there was contact to some labels,
but then there was never something like that.
And it was already the thing where you said,
well, do you give up?
Or maybe you just don't feel good enough.
But I always had the feeling that I had already played live for a while
and that always worked well, that you can continue there.
Maybe you haven't found the right label yet.
But after seven years I had to say to myself,
okay, if no one wants, then I'll take it in my own hands.
I mean, on my own, because I couldn't find a suitable label for my music,
what my music wanted to publish,
then the thought always came closer, that you say, okay, then let's make our own label.
Of course it has no idea, no coal.
And then I'm with my partner Jan,
from one event with us in the region to the next.
We then cut the DJs with microphones in the big room.
And then there are small recordings, CDs are pressed,
or even cassettes at the beginning,
and they then apply to the event and with the approval of the artist,
then they don't sell it on the parking lot.
And with the first money we earned there,
we actually gave ourselves a record press.
When we started with the label, it was just a cheap attempt.
So you didn't have to say, it's the whole structure there.
We didn't know what we wanted, we didn't have a salesman,
we didn't know anyone who had a label.
So you just have to say, okay, we'll press my record,
then we'll do the backpack and go to the record store
or go to the record store in our region and try to sell it.
And that's how you got to know people.
But it wasn't like that.
There was someone who could ask us
what we were supposed to do about it.
It was always like building up contacts
and trying around, of course, then also noticing,
okay, that doesn't work.
Because there was a record cost in the production,
where there were only small amounts, there were eight brands
and they were sold in stores, six brands,
and then you think, okay, that was a stupid idea.
You have to do that next time.
And that's all things where you really
have to learn.
And that's what we're going to do today,
because of course the whole scene has changed
in the last 15 years.
The name DaPike was more of a solution
and you could almost say that
because at the end of the 90s I played
many different project names
and most of the time it was relatively
a snap name.
You had an idea for a project
and you somehow named it funny
and a quarter of a year later
you ashamed yourself for it
because it was just a stupid idea.
And I always had the hope that
at some point you would find something
that is neutral or your own name.
And then I played for an event
and he wanted to have an exclusive live act.
And he called relatively often
because he wanted to make a flyer
and he said, okay, I need a name
but you have an hour
and I'll meet you again
and then it's fixed.
And I said to my friends
probably already at a beer
at my living room
and a friend said, no problem,
let's drop by.
And his father was a Bulgarian
and he said, yes, what should it be?
I said, yes, something with a lot of A,
something that sounds positive,
something in that form.
And then he looked around, yes.
There was a spider here.
Yes, pike.
Pike is probably called a Bulgarian spider.
It's called a short pike.
Let's make it a big pike.
With a lot of A's.
And then I said, oh, that's not bad.
And then we gave it through.
And I even had the book established
and everything, but somehow the event
was misunderstood.
And so I stood on the flyer in
hip-hop slangy the pike
as two words.
That's what the pike is.
But today I'm still
like a day pack
or a kayak, do-pike,
whatever you have in your name.
And I started to collect that
because it's just great to see
what people are happy about.
I'm a big fan of your music,
so it's really a good app
or a musician.
He always adapted a little bit
to what it was, but he was always
very independent and always
I always had a great respect
for how he does that,
and how his own thing just stands out.
Music playing.
Music playing.
Music playing.
Music playing.
Music playing.
