HARDPROOF is the first in a series of VA’s on Marcel Fengler’s IMF. It’s five original tracks from five producers, showcasing some of the best groove-based techno. We asked each producer to tell us more about their track.
Danny Wabbit – ‘The Girl With The Red Hair’
I finished this track back in 2022 after making a bet with my girlfriend, whom I had just met around that time and was trying to “wow” hence the name ‘The Girl With The Red Hair’.
The inspiration behind the track was her taste in techno at that time and her fiery red hair, followed by her experiences in Berghain, which I used to imagine the direction in which I wanted to go with this project.
When making the track, I wanted to emphasize creating a dark, intoxicating, and driving atmosphere that not only hypnotizes the listener but is guaranteed to make them move. As I crafted each beat and synth, I poured my passion into capturing the essence of the underground rave culture we both cherished.
Find Danny Wabbit on Instagram.
Grace Dahl – ‘Let Me Be Your Medizin’
For this track, I experimented with various rhythmic patterns, searching for a groove that would instantly captivate the audience and propel them into motion.
The pulsating rhythmic patterns and infectious synth line then became the track’s backbone, providing a solid foundation to work further on.
Throughout the production process, I constantly fine-tuned the mix, ensuring every element found its right place in the landscape.
I wanted the track to be rich and immersive, allowing the listener to lose themselves in the layers and discover new nuances with each listen. Ultimately, ‘Let Me Be Your Medizin’ aims to evoke a sense of freedom, liberation, and euphoria. It encourages listeners to let go of their inhibitions and surrender to the healing power of music. Whether on the dancefloor or through personal introspection, I hope this track resonates with people, serving as a remedy that heals and uplifts.
Find Grace Dahl on Instagram.
vrov – ‘Sunday Dynamics’
Before starting this track, I didn’t have a specific idea.
Drawing inspiration from tracks of the early 2000s, my goal is always to produce a hard-hitting track with prominent drums and driving rhythms. Once I’ve created the initial elements, I prefer to work on a simple arrangement and continuously enhance it during the production process. Adding rhythmic patterns is something I particularly enjoy, often utilizing a sequencer.
In my opinion, this track shines the brightest during the peak hours of the night, allowing people to escape from their daily obligations and troubles.
Find vrov on Instagram.
STEYA – ‘Trigger Me’
This track draws inspiration from the early Missile productions from the 90’s and the early 2000’s, particularly from artists like Nico and Tim Taylor.
Even after all these years, it’s remarkable how those tracks’ bass lines still trigger an intense reaction within me. Their timeless appeal resonates, taking me back to those special moments I spent on the dance floor myself.
Following my usual approach, I began by crafting the groove, emphasising the creation of a compelling bass line. It took some time and the combined power of Xfer Records’ Serum and Native Instruments Massive to achieve the desired impact.
The main goal was to create a danceable track with more of a tool-ish vibe, prioritizing simplicity over complex break constructions. The aim was to captivate the audience and keep them grooving on the dance floor.
Find Steya on Instagram.
Sivgard – ‘Aeon’
When I first started experimenting with music, I used Syntakt to trigger the OB6, which resulted in a unique and ever-changing sequence.
I began working on “Aeon” after being inspired by the unrelenting, limitless builds of bands like Planetary Assault System and Surgeon, two titans of the techno genre.
As the track progressed, I realized how crucial it was to incorporate little intervals of silence inside the otherwise nonstop barrage of sound. Now, “Aeon” is taking listeners on a fascinating adventure of unorthodox sequences and throbbing beats.
The first volume of ‘HARDPROOF’ is out now.
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