Butch is always on the go. From a constantly revolving international tour schedule to carving out time in the studio to produce conscious, captivating heaters for the quality sound chasers around the globe, this German Techno veteran’s determination and passion shows no signs of stopping, following 20 years in the game.

Upon hearing his stunning Desolat release, Sinus Tones & 808s, we had to gain knowledge on his musical process, vision and history, so read on and learn more <3

Hello, thanks so much for chatting with us! How has your transition into autumn from the crazy summer season been going?

Hi! Thanks for having me! Apart from the weather changing I haven’t really noticed the transition much, because I just do my thing every day of the week anyway. When I’m not playing a gig, I’m in the studio, all day, every day. The different seasons, beautiful as they may be, have no effect on that rhythm of mine. I have slowly started missing the sun at my gigs, though (laughs)!

We absolutely love your new EP on Desolat, such a multifaceted, hypnotizing package.  Give us a bit of background on your relationship with the Desolat family and the overall development of Sinus Tones & 808s.

I love hearing that you dig the release, thanks! I’ve known the Desolat guys for years now and it’s all mutual love and respect, at least I hope it is mutual (laughs). I remember when Amir and I first listened to “Raindrops On My Window” by Dice and we were literally blown away.

On all levels the Desolat guys are simply incredible, as artists they are spectacular, the label always releases the highest-quality music and also as human beings they are all extremely loveable. So I’m really deeply happy to release there again. Sinus Tones & 808s has a range of songs that blend trippy sounds with a stable, rhythmic foundation, which is why I chose the title. First it starts with “LFO”, which I made the day after Love Family Park, it really captures the energy I felt there. “Delusion” takes you through my emotional world, when I was playing gigs in the Middle East, which is a strange place to play. The combination of beautiful landscapes, lovely people and fear is very moving. “Sphere” just takes me places, when I listen to it; I think it really is a sound vehicle into my subconscious. A bit more rough and hardcore is “Tone 2.0”. To me that song is like sex in Berghain: monotonous, then it explodes and then it continues in a rough and entrancing way, good old Berghain (laughs). And the digital release features an exclusive tune called “Busy B”, named after one of the most legendary Hip-hop and Electro artists of the 80s, Busy Bee Starski. Have to pay my respect to the forefathers!

During the production process, do you tend to stay true to an initial vision or do you feel like you experience many changes and a sense of fluidity?

Oh that depends, but the tendency is that the initial vision prevails. Obviously never in a rigid, strict way, but overall my direction and the core idea remain. Sometimes though I just let the music take me, where it needs to go. Working with Hohberg or Ricardo for example obviously also has a different quality, simply because they have different work processes than me. When I work with a befriended artist it is even more important to stay open for ideas and input and to go with the flow, so that a real synergy can develop.

Looking back on your musical history, is there one artist or event that truly encouraged you to begin your artistic career?

The burning desire to do that what I do first came after watching Beat Street and Wildstyle. This level of dedication I have developed and the deep need to make things happen as a DJ and producer and to become better and better just grew inside of me as from then. People like Thomas Heckmann, Amir and Ricardo Villalobos have played important roles on a personal, inspirational level over the years, but without this desire I would never have been open to their input.

You bring your transcendent techno around the world, with gigs in Russia, Amsterdam, the USA and Italy just this month! Do your DJ sets identify with your sound as a producer, or do you attempt to incorporate a range of styles while mixing?

I started Djing when I was 12, so back in 1992. I only started producing music seven years later, so I always see myself first and foremost as a DJ. Seeing that I have quite a versatile range of production styles though, it isn’t hard for me to incorporate my own tunes into my sets at all. It doesn’t really matter then if I’m playing an after hour with trippy grooves or a stomping Techno set, primetime on a festival, I’ll always find some songs of mine that fit.

2 of your favorite tracks of the moment?

&Me – Birdland
C. Vogt – The Lost Tape

We’ll take your word for it….

2 classic tracks that you can always rely on?