Synapsa

18/12/2025

Siberialist's interpretation of post‑club music is inherently chaotic and emotionally charged, channeling feelings of anger, angst, grief, and detachment. His sets are immersive journeys through tense, cinematic atmospheres that often teeter on the edge of sensory overload, only to break into moments of cathartic clarity. Through his performances, he seeks to bridge the gap between otherworldly, experimental textures and rhythm‑driven, syncopated, distorted grooves — forming what he calls an interdimensional post‑club sound.

❓How do you know when a set is really working? Is it more about the crowd’s reaction, or how it feels to you while you’re playing?

I don't think I have a definite answer. I usually come to a set with some sort of a plan, I always over-prepare so I have way too many tracks, different tempos, different moods. I start playing whatever feels good to me to start feeling the music. Once I stop thinking too much and start vibing and having fun I have a much easier time reading the crowd. So I guess the short answer is "it's somewhere in between".

❓How did your journey into electronic music begin? What was the moment that led you to become a DJ?

To be honest I wasn't really a clubbing person at first. I loved music, especially the weird, radical and unpredictable music like Death Grips. But I never went to a club until they opened up FOMO in Białystok. A friend encouraged me to go and I loved it so much I started treating that place like a 2nd home. I've met lots of people there, started listening to strictly electronic music and decided to it would be fun to try and attend a DJ workshop there. Rest is history, I instantly bought a controller and started learning both at home and during workshops.

❓How do you usually discover new music? Do you rely more on algorithms, digging on your own, or recommendations from others?

I'm usually anti AI, but I gotta say, mastering the algorithms and learning how to steer them in the direction you want is an absolute game changer. Like I guarantee it would be close to impossible to discover many artists I discovered this way if I were to do it "manually". After a while I found really niche labels and media outlets that publish music that resonates with me and I just look them up on bandcamp every now and then, cuz the algorithm starts getting repetitive and it takes a while to reset it. Lots of people say digging with algorithms pigeonholes your music taste... I feel like they clearly didn't learn to do it properly.

❓How has your approach to DJing changed over the past few years?

After playing weird techno and slowly getting into more broken rhythms I started to understand that sometimes it's just not for you. After 2 years I definitely got a feeling that there are so many people who do it better in the techno realm (and are definitely more excited about it), it's best to let go and start playing what actually drives you crazy instead of trying to fit in with the rest of the scene and whatever is currently the main thing. Broken , experimental, post club sounds are THE s**t for me currently. After this transition it took me a while to stop overthinking people's reactions, cuz I'd stress that my selection might be too much for the crowd. I still have these thoughts sometimes, but I've learned to let go, use my intuition and feel more than I think during the set. Then I usually find a way to make people go along with the weirdness.

❓What do you think sets Up To Date Festival apart from other electronic music festivals in Poland?”

It's definitely the curation and community we've built throughout many years. People that visit us know exactly what they're coming for. I feel like in the field, where many festivals cater to influencers with the brand deals, VIP passes, hyper, over the top lineups, we put authenticity, varied (nuanced) sound and THE PEOPLE first. That's why we constantly talk about well being, mental health, create space for diversity and make sure everyone feels at home, without any divisions. And I'd say it works. I always see our festival goers super happy, kind to each other and very present in the moment. Can't say the same about many other festivals.

14/12/2025

Steve RedHead is a Belgian DJ and techno producer active since the early 1990s. Known for his energetic, driving sound. He has released tracks on some of the most prestigious techno labels, including Mutual Rytm, Frenzy Recordings, Index Marcel Fengler, Primate, Zync, Mankind, Materia, Suara, Compressed, Fine Audio, Session and his own label Reda Recordings. He has worked with some of the most significant names in the techno industry, collaborating on tracks and remixes that have pushed the boundaries of the genre.

❓You’ve been part of the scene for over three decades — how do you think the European techno scene has evolved from the ’90s until today?

It’s a completely different world now. In the 90s, it was purely about the music and the physical experience in the club. There was no social media to build an image. You had to prove yourself with your releases and your skills behind the decks.

The biggest change is accessibility. You needed an expensive studio to participate. Now, anyone with a laptop can produce tracks. That has led to an explosion of music—sometimes too much—which makes 'digging' for those hidden gems much more intensive. However, I also see the positive of this all. Much more people can create good music because of the accessibility.

The focus has shifted, too: unfortunately, nowadays it often seems to be more about Instagram followers and marketing than production quality.

❓In the era of digital production, what brings you the most satisfaction — hardware, software, or a combination of both?

I used to be a pure hardware man. Back then, you had to be. But to be honest, these days I get a huge amount of satisfaction from the digital workflow (in the box), the possibilities are endless.

I work primarily in Ableton now. It gives me the speed and workflow that was sometimes difficult to achieve with hardware. What I really get a kick out of is manipulating samples and creating my own sounds from normal sounds inside the software.The software gives me the freedom to make whatever I want. Back in the days I was very limited to what synth or Fx module I bought.

❓What are you currently working on, and what can your listeners expect from you in the near future?

I’m currently in a very productive flow. I am making all kinds of stuff as I am going slightly away from hardgroove. Exploring sounds is what it’s all about at the moment. At the moment I am trying to make some tracks for Mutual rytm again. We’ll see what happens. Also I am preparing something for Arts. Next month there is a track release on a VA from the new label of Felicie.

I’m also working on passing on knowledge. I recently did a masterclass for Sinee to teach producers how to build that specific 'Hardgroove' sound. As I loved it, I started to teach people in my free time also.

❓How did your journey with electronic music and DJing begin?

I was raised in a very musical family. I started to play drums when I was 3 (yes you read that very well!) My dad is a musician and he teached me all. From the drums to guitar and then later in 95 he learned me how to work with Cubase. That’s how my production career started. But I was already a dj in a local club since 1993. But after a while I wanted to produce. It wasn’t about becoming famous. It was about having fun with the music. Then later in 98 I met Marco Bailey and started to co-produce some releases. That introduced me into the scene and I got my first solo release in 2000 on Skunkworks. Later I released on Zync, MB Elektronics etc. and the rest was history.

❓What drives you to keep creating after so many years in the game?

I still like the music and I still like to produce and play. Simple and clean. The day I don’t have fun anymore, I quit. I have a normal job besides music so I don’t need it financially like a lot of other people in the scene. That gives me the freedom to do what I want. And for me being free as an artist to do whatever I want is very important. But it’s very tough to combine all.. A normal job, producing in the evening(night), travelling for a gig and then family life.That combination is sometimes very hard, but I still like it and that’s what keeps me going.

❓How do you prepare for your sets? Do you build them in advance, or do you prefer full spontaneity behind the decks?

I prepare my sets in terms of selection, but I never plan a set from A to Z. I spend hours sorting through new tracks and promos and put them in a certain order. But once I am behind the decks, I need to read the room. If I were to pre-program a set entirely, I would lose the connection with the crowd. You have to do that in the moment. Sometimes a track just doesn't work right then and there, and you need to be able to switch instantly. Again artistic freedom is very important for me!

10/12/2025

makenzi - one of the founders of PPL SHOWCASE collective and a long-time resident of Crackhouse club. He started out as a club lighting producer, which helped him develop a knack and the right style based on the mass of experienced events. Always hungry seeker of new sounds, but remaining faithful to his convictions. It is reflected in his sets - constantly evolving, but with a characteristic sound.

Happy birthday! 🥳

❓What do you think makes Crackhouse stand out from other clubs?

First of all, it is a purpose built club. We started from scratch, carefully adding one element after another, with hollistic approach. It is not the final form, but the most important thing is our vision - every special event must correlate with our design language. If community is satisfied - that means we are heading in the right direction.
Last but not least, the view of cranes and all the industrial machinery is a special bonus you do not see every day in a club setting.

❓What sparked the idea to create PPL Showcase, and what’s the vision behind it?

To be frank, we have created PPL Showcase out of pure boredom, during Covid lockdown - no special ideas behind it, just a way to "showcase" my and my friends' skills to the audience. The streams caught on, so do we. Quickly it transformed to a full blown podcast series, and couple of illegal/legal parties with a bang. We have gained friends and supporters along the way, creating a mini community during those hard times.

❓What pushed you to move from working the lights to stepping behind the decks?

Long time ago, I was working behind the lights, in a EDM club in small town of Jastrzębia Góra, by the seaside. These were my first steps in a club setting.
My lighting setup was right beside the DJ's, so I lurked into his Traktor DJ Pro software just out of pure curiosity, to grasp what he was doing with all these transitions and so on.
Obviously, my light should be in sync with what he was doing with the audio, so many times we worked together as one. One day, I thought to myself - hey, I can also do all this stuff, I just need to practice. In 2018, right before my 2 month journey abroad, I had bought Numark Mixtrack Quad controller with all the money I had left, and decided to practice 2 hours every day, no matter what.
After those 2 months, I have returned to Poland with all the basic skills in my hands.

❓Your sets keep evolving — what’s inspiring you the most in music right now?

The evolution of my approach to music, comes from a fact that I can get easily bored from playing the same tracks over and over. While working in a club, I often hear top tier labels' records played twice or three times a weekend. Do not get me wrong - many of these tracks are pure bangers. As I am seeking stimulation, I am looking for a specific labels, or artists with a sound that reflects my musical DNA at the moment. Sometimes it means more hypnotic, dystopian sound, sometimes I need more groove, the specific texture of kick, snare or hi-hat.
I often think of a track as a tool rather than a piece of itself, that is why three deck mixing is a more creative way to express myself.

❓How did your journey with electronic music begin?

It all started from my parents' collection of music. It was not all electronica, mainly rock music, but I found many great casettes and CDs with a UK shaped sound, such as Faithless, Basement Jaxx, The Prodigy, Scooter and so on. In my highschool days, I found drum and bass music quite useful - it kept me focused while studying, and added scenery to my long walks. Later on I found love for house and techno music, mainly because of I Love Techno 2003 aftermovie I came across on the depths of YouTube. It influenced my vision of music for years to come.

❓How did working as a lighting engineer shape your sense of rhythm and your ability to read the energy on the dancefloor?

Working as a lighting engineer helped me a lot. I did not have instrumental background as many DJs had, so all the music theory needed to play I learned by feel. While doing light show, I need to adapt to every musical phrase, and also anticipate transitions, reading DJ's playing style. I am treating every element of lighting rig: moving heads, LED bars, strobes, as if it were my instruments. Being in these two professions helped me elevate in each one. After all, it is all about creating special moments.

08/12/2025

Atmorestive is a 19-year-old sound artist navigating the territories of ambient, experimental music, and deep techno. He is a resident at Hala Odra and a member of the STILL and Aorta Ultras collectives. Driven by passion, he loves sharing his unique sound through original productions, live acts, and DJ sets.

❓How did your journey with music begin? Do you remember the moment when you thought, “yeah, this is it”?

I owe the start of my love for music to my parents, who enrolled me in piano lessons at an early age, giving me the foundation for future work. Back in primary school, I downloaded DAW software and started playing around with layering sounds. The breakthrough moment for me and my style was encountering ambient and alternative electronic music thanks to my friend Hubert, who also creates music under the alias "Far removed." From the moment we met, we started experimenting with sounds together, polishing our skills, discovering new music (including techno, thanks to our trip to the Tresor club), and even learning the DJ craft together, which led to us playing our first sets.

❓Is there any gig you know you’ll remember for the rest of your life?

Every gig is unique to me in its own way. I appreciate every opportunity to show up and share my passion with people. It always makes me happy when someone consciously decides to have me play at an event, regardless of whether a hundred people or ten thousand show up. I remember every party I've played, and even though there have been quite a few, the accompanying emotions, the music I played, the energy of the dancefloor, and all the nice interactions have stuck in my memory. I won't let myself forget those special moments!

❓What are you creatively living on right now - what projects are you working on, and what’s inspiring you the most these days?

I am currently working on new ambient tracks and on implementing my style into the framework of techno music. I am most interested in delicate sounds juxtaposed with contrasting, sharp percussion sounds, where I can make it more "glitchy" and break up the sound with interesting effects. I'm currently working on a new album that will introduce a new era of my style - I already have a vision for it that I’m sticking to. I am very inspired by artists like Ike Zwanikken, Tehotu, Mechatok, and Hania Rani: I admire them for creating such an individualized, exceptional, and unique sound.

❓You’re involved in two collectives - STILL and Aorta Ultras. How are they different from each other, and what do they give you or push you toward?

The STILL collective is a very multidisciplinary entity whose biggest mission is integrating people in Szczecin and giving them a reason to simply get out of the house. Throughout our activity, we’ve organized many club events with diverse music and even a festival involving the local artistic community. At all club events, we also organized art exhibition sections, thereby spreading the popularity of local creators. Besides parties, we also did DJ and production workshops and even chess tournaments.

Aorta Ultras is a group that promotes a harder sound of electronic music without limiting itself in form or content. Our character relies on breaking conventions prevailing in the scene, experimenting with forms of presenting ourselves, and building a united community - hence the name Aorta Ultras, where anyone can become such an "Ultras." Together with DJs Wojtello and justwacu (WVC), we create not only club experiences but also events in secret locations known beforehand only to initiated people. We also handle a podcast series that is part of our cybernetic reality, where you can chat with our chatbot, play a silly game, or read our manifesto. Authenticity is the foundation of Aorta's existence and development. (aortaultras.com)

Being part of collectives gives me a greater sense of belonging to the scene. Active involvement makes me feel like a part of the entire community. I'm happy to have the opportunity to invite artists I admire to my events, and to do that, I need a strong team with whom I can easily organize even the most challenging tasks.

❓What motivates you to make music - inspiration, emotions or simply a habit you’ve built?

Creating music gives me a sense of fulfillment - for me, it is a unique form of emotional expression, a kind of therapy, and a well-working escape from reality. It’s fascinating to me that with every approach something completely new is created, that music is a field where you can create an unlimited number of combinations. I love telling stories and describing emotions in an instrumental, non-verbal way. The medium of music has a very universal character where everyone can map their emotions onto a single template.

When I was little, I thought making music was something totally impossible, so today I want to strive to surprise that little human from the past!

❓What helps you grow the most as a producer - experimenting, playing live, or discovering new music?

In my case, it’s a combination of all those activities, but additionally, I talk a lot with other music creators. We exchange tricks and ideas that make our productions better and higher quality. I crafted my sound through deep exploration of the capabilities offered by the tools I have. In short, I’m a fan of twisting k***s on synthesizers while recording written melodies in one take, because I feel like I’m bringing the music to life then... and that evolution of sounds is the most inspiring thing for me.

08/12/2025

Huge thanks to everyone who came out to Ciało last Friday. Until next time!

04/12/2025

Tomorrow 😤

• D E C E M B E R •

⫸ 5.12 ⌬ Synapsa x Przestrzeń : Exos ⌬ Egodesu b2b Tekknik ⌬ somnifobia b2b Breja ⌬ Furie ⌬ 1001010010 b2b Puzz

⫸ 6.12 ⌬ Jake The Rapper ⌬ Nowosad ⌬ Jellin ⌬ Velvet Vortex : AKSAMIT ⌬ Alyrik ⌬ Noah Farrar ⌬ Planatia ⌬ Silarski

⫸ 12.12 ⌬ Hard Injection: Luca Agnelli ⌬ Dr. Obliterane b2b STASZKØ ⌬ Proteina ⌬ Theviacya ⌬ Touse ⌬ Szarkovski

⫸ 13.12 ⌬ SPLOT w/ Sully & Blackeye MC ⌬ Siberialist ⌬ Glassz & Guiltee ⌬ Meke ⌬ MGKL ⌬ dadan karambolo

⫸ 19.12 ⌬ Daria Kolosova ⌬ Truant ⌬ Spectribe ⌬ kEczuP ⌬ RPR ⌬ babiarz

⫸ 20.12 ⌬ Earth Trax ⌬ DYYU∩E ⌬ DJ Duch ⌬ Hekato b2b Mislaw

⫸ 26.12 ⌬ Velox x Zgub ⌬ VSN ⌬ Despoza ⌬ Proteina ⌬ VANITYY ⌬ Effy Olya ⌬ Hodred

⫸ 27.12 ⌬ LuLu Malina ⌬ Dynamik Dwarf : Myris ⌬ wettmopp

⫸ 31.12 ⌬ Ciało New Year’s Eve: BLANKA ⌬ Glassz b2b Michał Macewicz ⌬ Cruz0e ⌬ Trans Timmermans ⌬ Scyntero ⌬ VVYDRA ⌬ KARI

GFX: .S (IG)

03/12/2025

Exos - one of Iceland’s leading techno pioneers - has released over thirty vinyl records and four solo albums. In 2025, his fifth solo album is set to arrive on Mutual Rytm, promising to push his soundscape to the outer limits. Known for his deep, driving style and boundary-pushing productions, Exos has released on influential labels such as Tresor, Mutual Rytm, Figure, BPitch, and his own imprint, Planet X - home to a wide range of rhythmic explorations. With performances at venues and events like Awakenings, Berghain, Tresor, and Boiler Room, he continues to evolve while staying grounded
in the foundations of the underground.

❓Looking back over the years, how do you see the evolution of your sound and approach to music?

I’ve been rooted in dub-techno for decades, but in the last few years my sound has moved toward a more rhythmic, driving form of techno. The foundation is still the same — space, texture, depth — but the energy has shifted. It feels like a natural evolution.

❓You’ve released over thirty vinyl records and four solo albums. Which moments from that journey are you most proud of, and is there anything you would approach differently today?

I think my solo EP Q Box and my third album My Home Is Sonic showcase the best examples of my deep techno style.

❓Reflecting on your career — if you could travel back in time and talk to your 17-year-old self, what piece of advice would you give him?

I wouldn’t change anything, but I stopped making music from 2004–2014. It’s my biggest passion, and if a man doesn’t serve his passion, then the quality of life downgrades.

❓What are your current goals and plans for the near future? What can we expect from you next?

My album Sweet Dreams is coming out in December on Mutual Rytm. After that I have collaborations with some amazing artists and more releases lined up. 2026 is already shaping up to be a heavy year for my output.

❓Is there a performance in your career that you’ll never forget? What made that moment stand out for you?

Playing in different environments always does something special. Two weeks ago I returned to the jungle town of Mocoa in Colombia for the second time — the energy there is something else. Colombia always gives a strong, honest connection when I play.

❓Are there any “forbidden” tools or techniques you intentionally avoid to preserve a certain aesthetic in your music?

I never use the sync button. It removes the creative tension and the physical connection with the music. Mixing should be alive.

❓Do you have any pre-show rituals or habits? Is there something you always make sure to check before going on stage?

Nothing dramatic — I just take a moment to center myself, get a feel for the room, and make sure everything is flowing the way it should. Then I go in fully present.

02/12/2025

Piątek 🫰🫰🫰

⌬ Wiele twarzy, jedno flow. W piątek siły łączą dwa filary wrocławskiego undergroundu – Synapsa i Przestrzeń.

⌬ Oprócz line-up'u kipiącego od local heroes – ich islandzki gość.

⌬ Exos to pionier współczesnego głębokiego groove’u, którego skill w miksowaniu i produkcij (wydaje dla Tresora, Mutual Rytm czy BPitch) doprowadził za decki m.in. Berghain czy Awakenings.

PT: Synapsa x Przestrzeń: Exos

📷 Od lewej: Breja, 1001010010, somnifobia, PUZZ, Furie, Tekknik, Egodesu

26/11/2025

aka ieuan is an electronic musician born and based in Brooklyn, NY. Known under the aliases aka ieuan, Mr.m4uh, and Yion, he is a multi-genre musician with six years of DnB, Tech-House, and Techno releases. Growing up in Brooklyn, playing music from a young age, ieuan infuses his love of underground rap, alt metal/rock, and classical guitar into live-recorded, hypnotic techno compositions. Being deeply inspired by live electronic acts like Luke Slater, UFO95, and Rødhåd, his melancholic and energetic tracks create a hypnotic atmosphere that encourages self-reflection and healing. With releases on Diffuse Reality, Impulse Control, and Agape Music, aka ieuan is one of NYC’s emerging homegrown artists helping define a new era of NYC Techno.