Interviews with 9 Artists featured on Evoparade Compilation released via Evosonic Records

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NINE INTERVIEWS WITH: EVOPARADE COMPILATION ARTISTS

The EVOPARADE compilation brings together a diverse array of talent, each contributing their unique sound and perspective to this historic milestone for EVOSONIC Radio. In this series of interviews, we dive into the creative minds behind the tracks:

1zimmerapartment discusses the evolution of their track "Imagine," their use of a simple four-note motif, and their personal connection to the ethos of Rave The Planet.

Noah Levin shares the inspiration behind "Love the Planet," his collaboration with Chris Maico Schmidt on "Camel On Speed," and his excitement for the EVOSONIC float.

Foss and Stoxx explain the humor behind the title "Gamskogel," their seamless studio workflow, and their goal of creating a pumping, clear sound for the dance floor.

Marxx and Ciliares break down their focused, sub-five-minute track "Evokation," highlighting their club-centric workflow and the importance of the vocal elements.

Chris Maico Schmidt (Mike S.) reflects on the challenges of preparing for the event amidst personal health struggles and the overwhelming positive reception of the diverse lineup.

deKai (Berlin) talks about the raw energy of "Dirty Techno Talk," the influence of Berlin's techno history on his sound, and his excitement for performing in his hometown.

Enjoy these brilliant interviews with the very talented techno artists.

Radio Records Schmidt · EvoRec 102 - Various Artists - Evoparade

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Dimitris: 1. What was the primary inspiration behind the melodic elements in “Imagine,” and how did you translate that into the final arrangement? ?

1zimmerapartment:The melodic core is actually a simple four-note motif. It appears almost casually at first, more as a suggestion than as a fully stated melody. Over time it becomes more recognisable and eventually turns into something that feels as if it had been there all along. We didn’t want a big melodic hook that immediately tells you what the track is about. The motif gradually grows into its role. The pads give it a more emotional colour, while the arpeggios and acid elements keep changing around it. So the arrangement is less about introducing completely new ideas and more about revealing different sides of what is already there.

Dimitris: 2. Can you walk us through your studio setup for this track? Were there any specific synthesizers or plugins that defined its sound?

1zimmerapartment: The track was produced in Ableton, using Hive, Sylenth and Dune 3, with Hive probably playing the biggest role in this particular production. It is actually one of our tracks with the highest number of Hive instances – including the 303-style sound and several of the arpeggios. But actually, the character of Imagine comes less from one particular synth than from how those sounds interact. There is a persistent bassline against a comparatively soft, warm kick, prominent pads, the embedded acid sound and several arpeggiated layers. One of those acid arps changes considerably throughout the track – from deep and almost imperceptible to bright and nearly shrill, without ever losing its coherence. For us, that combination of a recognisable sonic identity and constant subtle transformation defines the track more than any single piece of gear.

Dimitris: 3. How does “Imagine” reflect your personal connection to the ethos of Rave The Planet?

1zimmerapartment: There is obviously a connection between Imagine and ideas such as openness, individuality, connection and electronic music as a shared culture. At the same time, the track has a slightly different perspective on the word “imagine”. Rave The Planet 2026 uses #ImagineLOVE, while the turning point in our track is: “Stop imagining. You’re already here.” That is our personal connection to the idea: these things shouldn’t remain ideals that we only imagine. A space where people can be different without becoming distant has to exist in practice, even if only for a few hours. Electronic music can create moments like that.

Dimitris: 4. What does it mean to you to be part of EVOSONIC Radio’s first-ever float at this historic event in Berlin?

1zimmerapartment: EVOSONIC Radio has been part of electronic music culture since 1997, so seeing it become physically present on the streets of Berlin feels significant. EVOSONIC is and never has been about one narrowly defined sound. Different genres, generations and approaches can exist next to each other without having to become the same. That is something we identify with very strongly as 1zimmerapartment. So being part of the first EVOSONIC float felt like making that attitude visible – and audible. We are delighted that we were able to add our own sound to that history.

Dimitris: 5. How do you approach balancing the emotional, melodic elements with the driving needs of a peak-time dance floor track?

1zimmerapartment: We probably wouldn’t describe Imagine as a conventional peak-time track in the first place. It has enough drive for the dance floor, but it doesn’t rely on permanent maximum energy. The emotional and melodic elements are part of the groove rather than something placed on top of it. The melody remains understated for quite a while, the 303 stays embedded instead of turning into a classic acid escalation, and the pads have their own space without softening the track. The decisive moment comes in the third break, when the vocals say: “Stop imagining. You’re already here. Welcome.” After that, the music becomes more intense, but it doesn’t need a spectacular final gesture.

Dimitris: 1. "Love the Planet" feels like a direct anthem for the event. What was your mindset when you started writing it?

Noah Levin: The track had already existed for a while before I knew I would submit it for the Rave The Planet compilation. When I chose it for the compilation, the title “Love the Planet” came to me spontaneously. I wanted to express that, despite our love for music and raving, we also need to think about our planet and our environment – especially at such large events. Because we can only keep raving on this planet as long as the planet itself exists and we keep it a place where we can live.

Dimitris: 2. When collaborating with Chris Maico Schmidt on "Camel On Speed," how did you ensure both of your distinct styles were represented?

Noah Levin: Through a lot of communication and mutual effort. At the time, Mike (Chris Maico Schmidt aka Mike S.) mainly handled the technical side and worked on translating my ideas and vision for the track into the production. He also explored some new production techniques along the way. I think when different styles come together, what you really need is good communication and a shared willingness to find common ground musically.

Dimitris: 3. What is your go-to technique for creating space and depth in your mixes?

Noah Levin: My preferred technique is using delays. They’re a great way to create variation and a certain playfulness in the stereo field – what I like to call “ear candies.” Tools like Dub Station take a lot of work off your hands with their presets, but you have to be careful with them. Especially with high feedback or resonance settings, delays can build up very quickly and create extreme level peaks. That can be unpleasant for your ears and, in the worst case, put excessive stress on your headphones or speakers. FabFilter also offers some very powerful tools, but even Ableton’s stock delays can be a real weapon when used correctly. For depth, of course, a powerful bass is important, but it also needs to interact with the elements in the stereo field. Everything should groove together while each element still has its own place in the mix. I’m still at the beginning of my journey and I know there’s a lot of room to improve, but I’m currently very happy with these methods.

Dimitris: 4. How does it feel to have your music associated with such a significant milestone for EVOSONIC Radio?

Noah Levin: It means a lot to me, of course. It’s a great honor to be part of such an important milestone. At the same time, I can imagine that for people who were already part of EVOSONIC’s early days, it might have a completely different meaning. I grew up with EVOSONIC – it has always felt like my musical home. So I’m fully aware of what a great honor this is, even though I also feel that I was simply a little lucky to have the opportunity to be part of it.

Dimitris:5. What are you most excited to experience during the Rave The Planet parade in Berlin?

Noah Levin: What I’m most excited about is creating a stage for EVOSONIC Radio at Rave The Planet this year and bringing some attention to the station – with a really powerful and professional setup made possible by the wonderful Markus Schley from Schleychwerbung. And of course, I’m also really looking forward to having the opportunity to decide for an entire hour what music comes through that massive sound system on the truck.

Dimitris: 1. "Gamskogel" has a unique atmosphere. What is the story behind the track's title and its sonic direction?

Foss and Stoxx: We always approach naming—whether for our sets or our tracks—with a bit of humor. The Gamskogel is a peak in Austria. We stumbled upon the name by chance, but it fits perfectly.

Dimitris: 2. How do you work together in the studio? Is there a division of roles, such as between sound design and arrangement?

Foss and Stoxx: There’s no division of roles; we work hand in hand and complement each other.

Dimitris: 3. Which technical aspects were particularly important to you when finalizing the mix for this track?

Foss and Stoxx: We wanted a pumping track with a crisp, clear sound.

Dimitris: 4. How does it feel to represent the diverse sound of EVOSONIC at a massive event like "Rave The Planet"?

Foss and Stoxx: The gig at Rave The Planet for and with Evosonic was something very special—an honor—for us, and above all, it was a lot of fun.

Dimitris: 5. What kind of visual or emotional reaction do you hope to get from the crowd when the track is played on the float?

Foss and Stoxx: Ideally, the track sweeps people up and gets them dancing.

Dimitris: 1. "Evokation" is a shorter, highly focused track. How did you manage to pack so much detail into a sub-five-minute arrangement?

Marxx and Ciliares: This was mainly due to our common, absolutely coherent workflow. We think in the club context, feel the energy and also feel where it has to go. A track must build on the point, hold the tension and unfold its effect at exactly the right moment. We have deliberately designed evocation in such a way that it comes directly to the core without ballast. Each element in the track, whether drums, percussion, texture, automation and voice, has a clear function, which can also be understood as a message and should ultimately generate emotions in the mix.

Dimitris: 2. What was the key piece of gear or software that defined the sound palette for this collaboration?

Marxx and Ciliares: The decisive character head in the track is definitely the voice in interaction with a driving foundation of drums, bass and percussive elements, paired with the synthlines. In the end, it was precisely this uncompromising fine work in Ableton on the frequency spectrum and the necessary balance that gave the sound palette its precision and the necessary pressure for the club. So we have created exactly the raw, but at the same time precise sound that makes evocation.

Dimitris: 3. How do you feel your track fits into the broader musical diversity of the EVOPARADE compilation?

Marxx and Ciliares: In my opinion, our track fits very well into the EVOPARADE composition. The compilation combines many different musical styles and it is precisely this diversity that makes it exciting. My track complements the mix in its own way and fits well into the varied overall picture. So there is something for every taste, and the listeners can discover very different music.

Dimitris: 4. What does participating in Rave The Planet mean for you as artists, especially alongside the EVOSONIC family?

Marxx and Ciliares: As an artist, participating in Rave The Planet means a lot to me – especially because I was able to share this experience together with the EvoSONIC family. I was the initiator of the Evosonic-Float and was very happy when our application was accepted. Knowing that we would be part of this special event with our float was a great feeling. The atmosphere and the mood were simply gigantic. Everywhere you could feel the energy and enthusiasm of the people. Experiencing this moment together with the Evosonic family made it even more valuable for me. I am proud that Evosonic has reached another milestone in its history by participating in Rave The Planet.

Dimitris: 5. How do you translate the energy of a studio track like "Evokation" into a live, outdoor festival environment?

Marxx and Ciliares: The energy of a studio track such as evocation is transmitted in a live outdoor or Festival environment mainly through dynamics, precision in the low-end and precise timing. The track is a real and effective tool in our set. Through targeted interaction on the mixer, be it via looping, high- and low-pass filter drives in a dosed combination with effects such as reverb, flanger, echo, etc. or precise EQing, we adjust the voltage exactly to the wavelength of the audience, so that the track unfolds its full effect under the open sky and carries the crowd with it.

Dimitris: 1. "Broken Pieces" has a very distinct emotional arc. How do you approach building tension and release in your tracks?

Theo Karden: I mostly worked with hardware synths and drum machines to record the track. So the melodic parts get a human touch simply by me not playing it 100% perfect like a computer. The tension is created by recreating the sound of violins on my synth and sweeping them in with difference in volume and frequency range.

Dimitris: 2. What specific technical details in the low-end (bass and kick) were most crucial for getting this track ready for the club?

Theo Karden: I created three different basslines, which play along with the kick. Each one is quite simple and not that present, but together they create the rhythm and foundation of the track. Them also not being perfectly aligning gives it a human feel. There are a rhythm bass, a melodic bass and a sub bass with some glide to it.

Dimitris:3. How does your sound fit into the "Melodic House and Techno" category mentioned in the compilation's description?

Theo Karden: The main melodic part has an organic feel to it, but it was created with synths only effects. So it sounds technical. The whole track being performed live is an homage to the oldschool techno scene.

Dimitris: 4. What does it mean to you to be part of the EVOSONIC float lineup at Rave The Planet?

Theo Karden: It was crazy the see all the happy faces on and besides the float. Bringing back the normal techno sound to the people is pretty special in a world where every 'techno'-Artist is reaching for the faster and harder sound.

Dimitris: 5. How do you think the event's message aligns with your own philosophy as an electronic music artist?

Theo Karden: As somebody earning my living in the event industry, I definitely support the idea of having more spaces for new events and creating new creative ways to bring techno music and smiles to the people.

Radio Records Schmidt · Core D-Lane & Fauna - Boundless Serenity

Dimitris: 1. What went through your mind when you initially received a rejection?

Core D-Lane and Fauna: To be honest, it was a bit disappointing at first because you get very attached to your music. However, I could completely understand Evosonic’s reasoning right from the start. At the end of the day, constructive criticism is simply part of the release process, and it's all the more rewarding that the track has now found its way onto vinyl and CD after all.

Dimitris: 2. What reason did Evosonic Records give you for the initial decision?

Core D-Lane and Fauna: t definitely wasn't because of the track itself, as the production from A to Z was top-notch and completely on point. In the end, it was purely a matter of subjective taste: someone on the label team simply has a personal aversion to lo-fi vocals – a decision that was later looked back upon with a smile and described as a bit hasty. The track certainly didn't have to hide quality-wise, and we are all the more thrilled that it has now found its well-deserved place on vinyl and CD after all!

Dimitris: 3. How does your sound align with the "Melodic House and Techno" category?

Core D-Lane and Fauna: Stylistically, my track moves strongly within the melodic deep house realm. It thrives on emotional melodies, deep atmospheres, and an infectious groove – and exactly this vibe fits perfectly into the gap between melodic house and techno.

Dimitris: 4. What does it mean to you to be part of the EVOSONIC float at Rave The Planet?

Fauna: It means the world to me, and I am extremely grateful for this opportunity. A massive thank you goes out to Marxx aka Markus Schley, who got me into the line-up in the first place and made this possible! Playing on a float at Rave The Planet is simply a dream come true for me.

Dimitris: 5. How does the core message of the event resonate with your own philosophy as an artist?

Core D-Lane and Fauna: The motto of Rave The Planet – such as standing up for peace, unity, and the protection of electronic music culture – perfectly matches my understanding of techno. For me, electronic music is much more than just a party: it connects people without prejudice and gives us a space of freedom. As an artist, I want to use my music to transport this exact peace and do my part to protect our culture and its spaces.

Dimitris: 1. "Jingle Bells" has a very distinct groove. What was the starting point for this track during your production process?

Chris Maico Schmidt: The starting point was a percussion sample loop that sounded to me as if it came from the famous Christmas carol. Then the title was no longer a question. The rest, like so many of my productions, just happened. One thing led to another.

Dimitris: 2. For "Camel On Speed," how did the collaboration with Noah Levin come about, and how did you divide the technical duties in the studio?

Chris Maico Schmidt: We had already spent a lot of time sitting "next to each other" before that, each at his own workstation. Eventually, Noah came up with a half-finished track. I immediately heard what was still missing. I had just discovered cool samples (Prime Loops – Arabic Vibez) and they absolutely had to be in there. Also, at that time, we both fell in love with a plugin (The Riser from AIR Music Technology), which also absolutely had to be in there.

Dimitris: 3. What specific hardware or software do you feel gives your tracks their signature sound on this compilation?

Chris Maico Schmidt:As mentioned before, definitely the samples from Prime Loops – Arabic Vibez and the plugin The Riser from AIR Music Technology.

Dimitris: 4. How are you preparing your set for the EVOSONIC float at Rave The Planet, and what kind of energy are you hoping to bring?

Chris Maico Schmidt: Actually, this was the first time I really put a lot of effort into preparing a set. I tend to experiment a lot while DJing. I knew that in this case, for the mere 1 hour, that would be wrong. So, I tested the selected tracks very often at home or on the radio in that specific order. As often happens, Patrizia (1zimmerapartment) had to voice her opinion on it. In the end, the selection wasn't that difficult. The premise was to have tracks with a "hands up and goosebumps" character, and as many of my own tracks as possible. I simply wanted to use this platform for myself too.

Dimitris: 5. Looking back at the evolution of the electronic music scene in Berlin, how do you view the impact of an event like Rave The Planet today?

Chris Maico Schmidt: I believe that the scene is currently neither developing forwards nor backwards. Neither negatively nor positively. Not just in Berlin, but almost everywhere. One could say that electronic music has arrived.

Dimitris: 1. The percussion in "Tambourmajor" is incredibly driving. Can you detail your process for layering and processing the drums?

Mike S. aka Chris Maico Schmidt: I think that's overrated. It's solely the speed of the track and no "braking" bassline that makes it so driving.

Dimitris: 2. What was the biggest technical hurdle you faced while producing this track, and how did you overcome it?

Mike S. aka Chris Maico Schmidt: As is often the case, I stood in my own way. I often find it difficult to approach production more simply. I always struggle to implement "less is sometimes more."

Dimitris: 3. How does this track represent your personal evolution as a producer within the EVOSONIC sphere?

Mike S. aka Chris Maico Schmidt: I think I've actually regressed in that regard.

Dimitris: 4. What are your expectations for the EVOSONIC float at Rave The Planet, and how are you preparing for the event?

Mike S. aka Chris Maico Schmidt: Bad question, because I was not only a DJ (Chris Maico Schmidt aka Mike S.) on the float, but also the namesake. Until shortly before, it wasn't even certain if I could participate. The healing of my amputated toe was progressing slower than expected. I only got the doctors' OK for this endeavor three days before the parade. How I prepared as a DJ, I've already answered. Unfortunately, as the head of Evosonic, I couldn't get involved as much as I should have. In the middle of the most important phase, I was in the hospital, fighting for my toe, and suddenly had Type 2 diabetes. I simply have to send a big thank you again to Markus Schley (Marxx) from Schleychwerbung. He not only financed the whole thing but also, with his team, ensured that the float rolled and made a good impression. And thanks also to Patrizia. Without her pre-financing (and patience, due to my bad mood), I wouldn't have been able to manage it at all.

Dimitris: 5. How do you think the diverse lineup on this compilation has translated to the crowd on the streets of Berlin?

Mike S. aka Chris Maico Schmidt: Since the parade was a few weeks ago, I know that we were more than well received.

Dimitris: 1. Dirty Techno Talk" brings a raw, driving energy. What was the most challenging part of mixing this track to ensure it hits hard on a big sound system?

deKai (Berlin) The track is quite an old production and was featured on the Evosonic 25 compilation. To be honest, I don’t really remember much about making it. We just went into the studio and started working on it. The track ended up spending several weeks at No. 1 on the Beatport Hard Techno charts, so I guess we must have done something right. :)

Dimitris: 2. Did you use any unique field recordings or vocal samples to create the "talk" elements in this track?

deKai (Berlin) I used the jingle from my radio show, Dirty Techno Talk.

Dimitris: 3. As a Berlin-based artist, how does the city's techno history influence your production style?

deKai (Berlin) Berlin has influenced my personal development throughout the years. The people who truly live and breathe techno are a huge source of inspiration for me.

Dimitris: 4. What are you most looking forward to about performing on the EVOSONIC float as it rolls through your home city?

deKai (Berlin) Playing for the people in my hometown and celebrating together with them!!!!

Dimitris: 5. How do you feel the EVOSONIC programming reflects the current state of the Berlin techno scene?

deKai (Berlin) It was a perfect mix of all the different techno genres that are being played right now.

As the final echoes of the EVOPARADE compilation fade, it is clear that the spirit of EVOSONIC Radio is as vibrant and boundary-pushing as ever. From the melodic introspection of 1zimmerapartment to the raw, driving energy of deKai, this collection of tracks captures the diverse heartbeat of the modern electronic music scene. We thank all the artists—1zimmerapartment, Noah Levin, Foss and Stoxx, Marxx and Ciliares, Chris Maico Schmidt, and deKai—for sharing their creative processes, their technical insights, and their passion for the culture. Until the next beat drops, keep raving, keep loving the planet, and keep the music alive. Final Thoughts The EVOPARADE compilation stands as a testament to the enduring legacy of EVOSONIC Radio and its ability to unite different generations and genres under one groove. Whether you experienced the energy live on the streets of Berlin or are discovering these sounds from afar, the music continues to speak for itself.

Buy on beatport: eVOPARADE

Click Here to Access the Full Release Options

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