Dutch producer and DJ APHØTIC has moved fast since his first rave in 2019. He bought a mixer soon after, production followed closely behind and now he has an audience that's streamed his music millions of times worldwide. The name comes from the aphotic zone, the stretch of ocean sunlight never reaches, and it fits the music: aggressive, dark and relentlessly quick.
In our interview, he talks about going all-in on schranz, why he's always four tracks ahead in the booth, and the year-long project he's finally ready to unveil spanning schranz, hard techno and hardcore. The mix is hard and fast throughout, recorded across four decks and is stacked with unreleased material of his own alongside gems from VLTN, RiVid, Lorenz B and many more. Rather than stacking banger on banger, he builds it as a story with long breaks, continuous beats and undiscovered cuts woven between the heavy hitters.
Interview
You mentioned online that your biggest project ever is dropping soon — can you give us any insight?
I will be releasing a remix EP of my most-streamed track, ‘Thalassophobia’. I will announce the remixers and the release date very soon. I’ve been working on this for over a year, and I promise it will be so sick. Some really talented producers are involved, covering genres ranging from schranz to hard techno and hardcore.
You’ve done it all, from bouncy and trancey to dark and schranzy, so where is your sound at right now? What is inspiring and influencing you? What are you aiming for in the studio and DJ booth?
Right now, I’m fully focused on schranz. I’ve loved this genre ever since I discovered it, and I’ve always played it throughout my career. I’ve experimented with different genres over the years, but I’ve found that playing and producing schranz gives me the most fun and energy.
I’m really inspired by Klangkuenstler and his event, Outworld. I admire his work, his humility, and his love for the scene. Playing at an Outworld event would be a dream come true.
How long did it take you to get comfortable playing on four decks, and why do you like to challenge yourself in that way?
It didn’t take me long to get comfortable using four decks. It doesn’t really feel like a challenge to me, as layering tracks somehow comes naturally. But the biggest reason I need four decks is to prepare my next tracks. I’m always four tracks ahead. This allows me to create a storytelling set and really draw the crowd in. I think this is much better than just playing banger after banger.
I also always try to balance the bangers with undiscovered tracks, as well as incorporating long breaks and continuous beats.
How different is controlling tension, contrast, and breakdowns when you’re doing it across four tunes versus two? Is the art knowing when to hold back as much as when to keep layering?
It really depends on the tracks. Some tracks don’t need any layering, while others work better when layered. I think it’s more common to layer old-school tracks rather than newer ones.
I think schranz has changed over the years. Nowadays, most tracks have more complex melodies, unique vocals, and shorter runtimes.
As I mentioned in my previous answer, I’m always looking for the right balance between breaks, beats, vocals, and melodies. I think this is what makes a good DJ: knowing how to deliver a balanced, energetic, and storytelling set.
Tell us about your mix, the aim you had with it, and what you wanted it to say?
For this mix, I tried to keep the flow going. I always approach my podcasts differently from my DJ sets. I think people on the dancefloor need more euphoric breaks, for example, while people listening at the gym need more continuous energy.
What gear did you use? Is that important to you in any way, whether in the booth or in the studio?
To record this mix, I used a V10 mixer with four CDJ-3000s. This specific setup is very important to me. The V10 is important because it has four EQs, which give me more control over my mix. You can also control the effects more precisely with this mixer.
Another important factor is the sound quality. The V10 has a warmer sound than the A9, for example, which is very important for schranz. The CDJ-3000s are important to me because I use the Beat Jump function a lot. With these players, you can jump 64 beats, which is more than you can with other CDJs.
What else are you working on for the rest of the year?
The end of this year will be mostly dedicated to the Thalassophobia Remix EP. However, I’ll also be releasing a new EP of my own on my label, as well as a few EPs from other talented artists.
Tracklist
Svetec, Luckes - Hard Slog
Lorenz B - Schranz Girls
Svetec - Calm Nights
IDS - Schranz Rhythm [unreleased]
Aphøtic - Thalassophobia (Noise Not War Remix) [unreleased]
Sandro Mure, Andy Bsk - From Ass To Mouth
Luigi Madonna - Primo (Svetec HT Rework)
Hostile - ÖTAK
Luigi Madonna - Why Not (Svetec HT Rework)
Chris McCormack - Erase Techno (Golpe HT rmx)
Luckes - Stay United
Noise Not War - Trash Talk
Aphøtic - You & Me [unreleased]
MØR - Rock It
Silentsevir - Assasin
RICH - Let The Bass Go
RiVid - Static Mind
Letzer Tag - Tote Ratte
Sandro Mure - Clanking
??? - Unforgettable
Aphøtic - This Is Schranz [unreleased]
Aphøtic - Music Is My Drug
VLTN - Move Your Body [unreleased]
NARKØRAK - Backstab
Vlace, KSN - Hurt You
Despoza - Illusions Keep Me Hoping [unreleased]
Lowerzone - i Like Dirty
Aphøtic - Thalassophobia (Tøm Volt Remix) [unreleased]
Sepromatiq - Write Me Soon
Aphøtic - One Last Breath (Feat. KEYKLAU) [unreleased]
