Born in Berlin and still living, loving & working in this beautiful pulsating city. Founder of SNOE and Cascandy as well as part of The Glitz and Hennon. You can find Andreas Henneberg behind the scenes since the mid 90’s as a producer, label owner, mastering-engineer and of course as a DJ and live-performer. A vast number of productions, publications and releases are the result of more than 20 years studio and label experience.
Andreas is located somewhere between techno, minimal and house simply because he is killing all borders around. In his sets he is summing up these genres in a very compatible and functional way. The Berliner is also a respected mastering-engineer and DJs on a regular basis at clubs all over the world, spinning knowing blends of House and Techno that not only make you dance, but also make you think
We caught up with Andreas Henneberg to talk about his new release on Bedrock, ‘Duff Trip’.
Electronic Groove: Hey Andreas, thanks for taking the time to speak with us today. You’ve just debuted on Bedrock with your 6-track ‘Duff Trip’ EP. Tell us about this project?
Andreas Henneberg: Aloha! Well, I’ve been following John Digweed and his Bedrock imprint since the late 90’s and bought so many fantastic records from this label. There are not so many imprints that influence you over such a long period of time and I’m very VERY happy that he liked the tracks and we made this 6-track mini-album out of it.
EG: Rewinding to the beginning of your journey, how did your childhood experiences develop your interest in music?
Andreas Henneberg: I grew up in the east of Berlin (former GDR) and I was 11 years old when the city wall fell. From one day to another a whole universe of influences hit me like a ton of bricks. My first CD was one of those Dutch ID&T hardcore compilations called ‘Thunderdome’ in the early 90’s. As I heard these strange and new electronic sounds, I dreamt of making music myself, I was simply fascinated at this time.
EG: When you started playing and creating music, was there a defining moment when you were given the affirmation that this was where you wanted to focus and develop your career?
Andreas Henneberg: In my opinion, music is the best hobby in the world and it should always be a hobby. If you start focusing on your career, pension-plan or maximizing the outcome, you should stop making music. Creativity is not supposed to push our egos and it’s a huge privilege if you are able to make a living out of it.
EG: You’ve been releasing music for two decades now, what were those early years like compared to how the scene is now?
Andreas Henneberg: No, not everything was better back in the days. Maybe it was easier to start a career back in the day because there were less artists making electronic music at that time. On the other hand, you had to spend a hundred times more money and effort to be able to create music. Today, you just need a laptop and this is fantastic! Fantastic because everybody is able to be creative, which is the reason why there are so many great talents popping up everywhere.
“I’m very happy that John (Digweed) liked the tracks and we made this 6-track mini-album out of it”
EG: Guide us through your creative journey to where your sound has evolved to today?
Andreas Henneberg: Let me take you to my studio on a normal day to make music… Arriving, having a coffee, turning all the gear on, having no idea what we are going to do today. Maybe a bit influenced by some tracks we have heard on the weekend before, we are programming some random beats, playing a bit with the synthesizers and 5 minutes later we have usually created at least one little thing that inspires us and leads to something else. It’s all about getting inspired by something random. Let’s compare it to an artist painting. You can copy that landscape and depict it, or you close your eyes and draw something imaginary straight out of your head. What I want to say is, I never have a plan when going to the studio. It’s always a random process.
EG: Tell us about your philharmonic live concert concept ‘Synth Happens’?
Andreas Henneberg: To be able to play your own music together with a philharmonic orchestra is like answering every musician’s childhood dream. I have a fantastic team that have helped me to realize this project. There are many concerts with different orchestras in the making and a lot of shows all over the world are being planned already. Check it out on YouTube by searching for ‘Synth Happens’.
EG: Of all the music you’ve made over the years could you select 3 key tracks that will give a snapshot re what Andreas Henneberg is all about?
Andreas Henneberg: Oh that’s a tough one… My first solo LP ever, ‘Mountain’ (from 2012), is such a release. I finished the album, listened to it a couple of times, deleted everything and started from scratch. Only one track made it from the original album: ‘Waiting in the Weeds’.
In 2009 I released the track ‘Aquaree’ on Oliver Huntemann’s IDEAL Audio label. The track was built in less than 2 hours and it became one of my own favorites. Also, the track ‘Crackajack’ from my last album ‘SEVENTEEN’ is somehow a big, big favorite. It was more like an underdog on the album, but I learned to love it.
EG: Tell us something about the psychological effects of music that totally blows your mind?
Andreas Henneberg: Back to the “music is my hobby” part from above… There are not so many hobbies available where you are able to put smiles on other people’s faces, create good memories and connect humans. This is awesome and this is why it’s the best hobby in the world. Hehe…
“I never have a plan when going to the studio. It’s always a random process”
EG: What’s your studio set up like? Any favorite pieces of equipment that you can’t live without?
Andreas Henneberg: My coffeepot! And some knobs and keys and switches and the holy air con. This is such a dangerous question and I could nerd so hard now. But I’m not. Coffee!
EG: If you were given free reign to dream up your perfect party anywhere in the world, paint a picture of what it would be like?
AH: Like most of my colleagues, I really love the festival season. And usually, the smaller festivals are the best ones. No fences and no large distances between the crowd and the stage. All it needs are happy people, good music, sunny weather and as little limitations and rules as possible.
EG: Having grown up through the evolution of the underground scene in Berlin what’s your assessment of things now? Is the scene healthy? What could improve it?
Andreas Henneberg: Since the city wall fell, the electronic music kind of exploded. Especially in the old east part of the city, with all the empty buildings and properties, where nobody knew who actually owned them. Creative spaces popped up everywhere and lots of them still exist. The state and the city of Berlin are now allowed to sell these abandoned and ownerless properties to the highest bidding investors. Clubs are closing or fighting against the new owners of these luxury lofts they put next to them. This is the reason why so many institutions are struggling. On the other hand, we still have so many great venues and events. The party tourism is a big factor as well and I’m very happy that Berlin did not become a techno-Disneyland like Ibiza.
EG: After this release for Bedrock, what new projects should we watch out for from you in 2019?
Andreas Henneberg: Of course I’m working on a new album to be released in 2020. I’m also working on a live show. A new album with my other project called The Glitz is in the making and my orchestra project wants a lot of attention as well. A lot of fantastic things to come and I really enjoy every little piece of it.
EG: And finally, what’s the best piece of advice you have ever been given?
Andreas Henneberg: F**kin spread LOVE!
Andreas Henneberg’s ‘Duff Trip’ is now available on Bedrock Records. Grab your copy here.
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