Techno and house have always been about imagining the future and feeling the excitement of change and discovery. If anyone has lived up to this aspiration in recent years, it is Stefan Goldmann. With each release and project he has brought a new edge to the table, creating some extraordinarily memorable tracks along the way. The uninhibited dirt of “The Maze“, the melodic craze of “Sleepy Hollow” or the free-floating choir samples dominating “Lunatic Fringe” have provided genre-shifting role models for countless DJs and producers.
Macro, the label Stefan Goldmann operates with Finn Johannsen, has been called “the leading avant-garde techno label.” From this position he has crossed over into art projects with an approach that remains essentially techno: investigating grid rhythm, sampling, vinyl culture or digitization down to their very cores. Commissioned works and one-off performances for festivals and institutions, ranging from large-scale installations at Berlin’s Radialsystem to intimate encounters at Kyoto’s Honen-in Temple, have become as much part of his presentation as DJing in clubs or at Macro label nights in Berlin, London, Paris, New York or Tokyo alongside label mates such as Elektro Guzzi, KiNK, Peter Kruder or L’estasi Dell’oro.
A special relationship has developed between Stefan and Berlin’s Berghain club since his debut at Panorama Bar in 2006. He conceived the Elektroakustischer Salon nights, opening up the club to experimental formats, and writes a column for the club’s program flyer. He is also a co-author of Berghain’s book (2015). His own book “Presets” was published in 2015 and investigates automation and industry aesthetics in digital music production. While playing around with the boundaries of art and science, this techno renaissance man still feels most comfortable between two decks, communicating with the crowd through the beats he creates and mixes.
(for the long biography, click here).