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INTERVIEW: DJ ABYSS



With "Into The Abyss", DJ ABYSS launches his new album and takes listeners on an unforgettable journey through the colorful facets of Deep House, Techno, Breakbeats, Melodic, House and Progressive House. His productions are full of feeling at the moment and touch all the senses. Driving arrangements, infectious beats and a wide range of melodic-delivering synths make the album a fantastic showcase of the Berlin artist's work. The new album is completely hybrid and finds its listeners both at home and on the dance floor.


We have had the pleasure of interviewing DJ ABYSS and this has been the result.


Where are you right now and what have you been doing mostly during the pandemic?

I'm currently in Berlin and enjoying autumn. I love this letargic mood when the days get shorter. Like many of my colleagues, I spent the time of the pandemic in the Home Studio. These extreme emotions, which I think everyone had during the pandemic, were of course a huge inspirational influence for music.


How has music helped you through the crisis?

I saw the crisis rather uncritically. I believe that in certain phases of life you have to take a step back and try to avoid the sometimes quite aphocalyptic influences from outside. At least that's how I feel. I deal with such issues very emotionally. It's not helpful to get too involved. Especially when it comes to things that are out of one's own hands.

How do you feel that your music influences or impacts your listeners?

I don't know that. I don't want to actively influence my listeners. Otherwise, I would probably write some kind of hymns or content-rich folk songs or something. I make music that reveals something of myself and hope to reach other people with it and, in the best case, to move them. Every listener decides for himself in what way this happens. I also don't think that you have that much influence on an emotional thing like music. Every person is an individual and often processes such things in their own way. But I am happy when my music moves people, in one way or another. And if it's individual for everyone, then I think it's also very honest.



What can you tell us about the idea behind INTO THE ABYSS?

The album has no idea. It's not a political statement or anything like that. The album is me at the time it was made. It's the everyday emotions that I go through and transform into music in the studio. Well, I could interpret some kind of meaning into it, as some labels do with their artists' albums afterwards to give the whole thing a theme that can be marketed well. But I don't think that's good. I only find something like that honest if the musician or the band does it consciously from the beginning. But then a completely different kind of music is created.

What demands do you have on your musical productions?

With every song I release, I wish that there are people who understand this song and who are moved by this song.

We all know that the digital revolution has affected sales, but has it affected creativity?

Yes, it definitely has. Small artists now have the opportunity to self-publish their songs, which certainly influences their creativity in a positive way. On the other hand, the new laws of digital marketing have also influenced the big artists. Many are now making more compromises in their work in order to be and remain successful. Songs are getting shorter, tracks sometimes start with the chorus because they are told that listeners only hear a few seconds and you have to catch them immediately. Production standards have adapted to listening to music on a mobile phone. And there are many other small changes in this direction, but I don't like them. It restricts the creativity of artists and thus changes their quality. But it's up to everyone to decide what they want to adapt to and where they don't want to limit themselves.

Can you tell us what your present and future projects are?

Yes, I am currently working on the 2023 album, which should be released in late summer/autumn 2023. The first single from the album will already be released at the end of 2002.

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