RW007

Hey there, in today’s edition, we’re diving into a controversial and hot topic: Realness.

It’s not uncommon to hear the term “realness” used critically, whether about music, the scene, or specific artists. But what does “realness” actually mean, and how can it be defined? What’s the reason people even bring it up in the first place? And can we question or deny an artist’s “realness”?

You’ll find out my perspective right now. As always, let’s start at the beginning, in chronological order:

1. Recent Cuts - Fresh vinyl and digital releases worth checking out.

2. Essential Oldschool - Records from the 90s and early 2000s that still matter today.

3. On the Horizon - Upcoming releases to keep an eye on.

4. The Perfect Match - Two tracks that blend seamlessly in a set.

5. Top 5 by Skee Mask - A handpicked selection, carefully curated each week by DJ’s.

6. Community Pick of the Week by Aaron - One favorite from the community.
   

1. Recent Cuts - Fresh vinyl and digital releases worth checking out.

2. Essential Oldschool - Records from the 90s and early 2000s that still matter today.

3. On the Horizon - Upcoming releases to keep an eye on.

4. The Perfect Match - Two tracks that blend seamlessly in a set.

LOL. I only just realized this right in the moment while listening and checking Discogs. Samuel Onervas, Patrik Skoog, and Niklas Ehrlin all have one thing in common: they originally come from Sweden. No wonder that the Swedish sound from back then is often considered a “perfect match.” And that’s exactly how I played it in one of my HÖR mixes in 2023.

While Samuel Onervas released a true, almost minimalist techno classic on Primate Recordings as part of a double vinyl, Patrik and Niklas show on the Swedish label “Native Diffusion” what they’re capable of and why Swedish techno remained so influential in shaping the history of techno well into the early 2000s.

I just love that short, repetitive vocal in the background. Two tracks that push forward, yet still carry a certain depth.

5. Top 5 by Skee Mask - A handpicked selection, carefully curated each week.

When I open Recycling Wax on Instagram, I often come across comments on records like “this was real techno”, “true underground”, or “back then it wasn’t music for the masses”. But what does it mean to be “real”? And why does the term “real artist” pop up so frequently that it becomes impossible to ignore?

Honestly, it's a deep topic. One that seems to resonate in every niche genre, just like techno once was. Or maybe still is? I’ve noticed that when people say “real”, what they’re often trying to express is frustration: frustration with the commercial sound, with the dilution of something that used to feel raw, unified, and anti-system. Techno was never supposed to be part of the industry machine. It was about bringing people together, creating something new, something resistant, something free.

For me, there is no such thing as “real techno”, because music is, at its core, a matter of taste. But a “real artist”? That’s different. A real artist is someone authentic, creatively independent, and deeply rooted in the scene – someone whose connection to music is honest, emotional, and undeniable. You can feel it. You can feel whether a person means what they’re doing or whether it’s just a clever business move.

Which brings us to Bryan…

Or better said: Skee Mask, the project of DJ and producer Bryan Müller. Because for me, he embodies exactly what a real artist is. Musically diverse, a full-on nerd when it comes to sound, and thankfully, one of those rare individuals who never had to play the social media game to get the attention he deserves, which is all about the music.

What I found especially impressive is how intentionally he chooses the platforms for his releases. He doesn't operate with business goals in mind, but instead uses his art to express a unique and personal world. He even turned his back on Spotify – and honestly? I fully support that. Big statement! And without even reading the comments, you’ll likely see things like “real OG” pop up.

I’ve been following Bryan’s project for a while now, and with every release, I feel like I get a small glimpse into his creative mind, without ever fully seeing behind the curtain. And that’s what keeps it interesting. Back in the day, we went to clubs to hear sounds we had never heard before. And that’s exactly what Bryan still delivers.

It was clear from the beginning that Skee Mask had to be featured in this newsletter. He kindly shared his “random recent Top 5” picks, as he put it. What mattered to him: the records are affordable, and he’s been loving them for a while.

Thanks for holding up the flag in this swamp of money-hungry investors, Bryan.
And thanks for the Top 5!

6. Community Pick of the Week by Aaron - One favorite from the community.

Umek - The Right Time E.P.: Today’s "Community Pick of the Week" comes from Aaron. And it fits today’s topic like a glove.

Umek is well known for his productions in the '90s and 2000s. One banger after another. When I listen to his recent work, though, it’s clear that a lot has changed. On Recycling Wax, I often see people in the comments asking why artists with such a big influence on the techno scene have shifted so drastically in their sound. Umek is frequently mentioned, and so is, e.g., Adam Beyer.

Many in the Recycling Wax community seem to wish these artists would go back to their old sound. But hang on a second: are we just being stubborn and expecting them to always stay the same? Or did these artists "sell out"? That’s a claim I see popping up again and again. The reason for the change is all about money and fame?!

The truth is: we don’t know the exact reasons why an artist changes their sound. And unless you’ve asked them personally, any explanation is just speculation. But still, a lot of people tend to assume that "something must be off". Why do we so often assume a commercial motive – something inauthentic – instead of simply considering that maybe their taste has changed?

Honestly, I try to be cautious about making claims like that. From my perspective, I can only say: I don’t enjoy what Umek or Adam Beyer are producing these days. Whatever the reason may be. I once spoke to someone who was part of the ’90s scene, and this person told me: “I heard that sound so often, I’m just done with it. I want something new!”.

So, isn’t it possible that Umek or Adam Beyer simply had a shift in their musical preferences? As far as I know, Adam Beyer still occasionally plays an old-school-style set at Berghain. I’ve never been there when he played, but I’ve been told the sweat drips from the ceiling.

So when we talk about “real artists”, we can’t say with 100% certainty that they’re not still being authentic to themselves, and that their transformation isn’t intrinsically motivated. We can’t assume it’s all about money or fame.

Final Thoughts:

To me, being “real”, as a person or artist, means staying true to your values, being authentic, and intentional. If you claim not to be mainstream but your music ends up on commercial radio, that creates dissonance. Whether being mainstream is “bad” or not is a personal decision. But saying A and doing B creates mistrust. It makes it hard for people to know if your words are genuine or just part of a crafted image.

“Real Techno” is a tricky term. On the one hand, I understand when music is made for industry, money, and the masses, even though Techno was originally political, anti-system, and future-facing. It’s as if Techno says, “I want to be A” but ends up being B. So I understand the questioning of realness.

But I dislike using the word “real” to compare genres. “Modular Techno is the only real thing” or “hypnotic, intelligent Techno is the true Techno”. I’ve heard that too often. And I hate it, because it creates a hierarchy. “I listen to real Techno, so I’m better than you.” That kind of elitist bubble exists in Techno, too, and I can’t stand it.

There are so many amazing Techno styles: Swedish, Spanish, American, Frankfurt, Berlin, Dutch Techno! There’s so much beauty in the diversity.

I simply wish for Techno to return to its roots: against the mainstream, for people who feel lost in the system, for whom the music was once a refuge from the madness of daily life.

What do you think? Let me know your thoughts in the comment section!

Thank you, Aaron, for being a part of the Community series!

 DISCOGS

And that wraps up the seventh edition of my newsletter.

In the future, I want to bring in more controversial and community-relevant topics to spark real discussions with all of you. Because one thing’s for sure: just because I’ve been around for a while doesn’t mean I’ve „die Weisheit mit den Löffeln gefressen“ – or in English: that I think I know it all.

Friendly reminder: keep sending me your favorite track or record. Who knows? Maybe you’ll be the one curating the next pick in the Community section.

Simply reply to this email or comment here with a link to your favorite E.P.

C U next week!

Keep it spinning,
Robin Tasi @ Recycling Wax