Flux BPM Online

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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!

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.

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.

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.

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.

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.

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

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.

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.

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.

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."

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

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.

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

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. :)

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

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.

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

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