The light and dark, the fast and slow, the loud and quiet - one cannot exist without the other and opposing qualities, in balance, each bring out the best in life - and often also in music. Berlin-based artist Mareena embodies this interplay perfectly. May it be through her well-built techno DJ Sets in clubs all over the world or as podcast host and label owner of the always calming and ever-giving UNRUSH series - Mareena understood the integration of this dualism like few other artists nowadays. A catch-up between Delayed and her was long overdue and our discussion expanded from the 90’ies over timeless music to the challenges of the life of an artist these days.

Hi Mareen, so happy we finally got to do this interview. We are approaching the end of the year - what reflections, feelings and thoughts are most alive for you these days?
Hi Theresa and the rest of the team, thanks for having me on Delayed. It’s an honour for me to contribute to your platform. It’s late as I’m answering these questions today, and I’m tired but I’m doing my best to give a proper insight… 2022 raced by so quickly but it was a super interesting year full of personal and artistic development, and good lessons. Most things felt like we left them in 2019 but became way more amplified. Especially when it comes to clubbing and social life. It was good to reconnect to the nightlife. Luckily. Being able to be touring as a DJ in South Korea and Japan was definitely my highlight. It’s a whole other sub planet…

As a DJ, label owner and producer, what are you finding specifically challenging at the moment in the “industry”?
In German, we have a word for this: “eierlegende Wollmilchsau”. The term says we have to be good at so many things that we can’t focus to be really good at one specific task. As an artist these days, you need to make dope music, be a great DJ / or live act and play/ do tours to make money for a living + dig great music. Best case, you also run a label and are a marketing expert managing several social media profiles. I think only a few have the luxury of having a proper team behind them who take care of the marketing part at least. I find this sometimes extremely challenging. There’s a huge sacrifice involved when it comes to leisure and relationship time. By the way, I do all of the above (except being a marketing expert) on my own plus have a demanding day job. Sometimes it’s tough to manage everything but I know why I do this and keep reminding myself each day that music is the purpose of my humble life. 

… But it still sucks sometimes ;)

You hold a residency at one of the world's most influential and long-standing techno clubs, TRESOR. How do you approach “the art of having a residency” and what would you give as advice for artists that aim to hold one or hold one? 
I’m grateful every day for what I have. A lot of amazing artists struggle to get gigs at all these days, and to have some sort of security of expression is a gift in these oversaturated times. I recommend being true and reflecting: “is this really what I want/ need to do in my life?” and if the answer is YESSSS, everything will fall naturally into place. Your thoughts about yourself and what you think about your environment (aka scene) will have a big impact on your career. Stay positive and confident! Whatever you give into a system, will be paid back. Some need longer, some reach their goals quicker. You need to overcome fears, and doubts and be bold in these times, communicate what you want. Having a mentor can be a good idea too.

Both of us grew up in East Germany in the 90’ies, during a time when Tresor and E - Werk became famous techno institutions. How did you get involved in the rise of Techno during those years and how did it influence you?
My first contact with techno was through my older sister’s music cassettes. These were recordings from the pirate radio station EVOSONIC RADIO back then. Must have been around 1998. I was 13 years old ;) And then there was no way back. Music finally made sense to me. After hanging out at the Love Parade with my parents and attending club events at a young age, I knew that I fell for electronic music… There was a DJ in my neighbour village in Mecklenburg-Vorpommern who introduced me to DJing. After leaving my family at the tender age of 15, I was introduced to some DJs in Rostock, who now run the UKW club. But it was my move to Berlin in 2004 where I eventually - after enough savings - was able to afford my own decks and records. From then on, it took flight… and here we are!

Is there a record you still adore from back then and still play nowadays?

I can think of two ad hoc.

The Persuader – What´s The Time Mr. Templar

DJ Rok – Cycle Sluts

Next to your brilliant and driving DJ sets with spellbinding Techno many might know you for, there is also a strong focus on ambient music - with your Podcast & Label UNRUSH as well as other projects. I read somewhere that you tend to focus on “timeless” music. Can you elaborate?
By timeless, I mean that a piece of music is so good that it can’t be affected by current trends or maybe even social topics. When it comes to lyrics, the topics are mostly about love, fears, and human issues. The piece of music itself doesn’t need much of an explanation. I think almost everyone can grasp it one day. I’ve never been looking for trends in whatever sense. Fashion, diets or arts. Though timeless music, as well as timely music both have a valid part in our expressive life as artists.

Let’s talk a bit about UNRUSH and its curation. First of all, what makes a good, captivating ambient mix for you?
A good ambient mix is like a good friend? UNRUSH  is my heart project. It was started in 2016 with the idea of creating a platform with ambient mixes after bordering a burn-out in 2015. In 2016 was also the first event at Zwinglikirche Berlin and two years later the first compilation. 

You recorded a mix for us - what theme did you have in mind and how do you approach a mix conceptually?I had a lot of ideas for a calm mix. I ended up with a dub techno mix. A genre that is sticking with me since my beginnings. I can't get tired of chords and delays. Since your platform is called “Delayed” it seemed just appropriate ;) The mix is recorded between 115 – 120 BPM. I wanted to create something more chill. A mix you listen to while cooking, having friends over or wandering around the streets. My idea was a deeper psychedelic vibe rather than the usual dance floor music. 

UNRUSH is a label, podcast series and series of events. What can we expect in 2023?
You got me there! Talking for years about more releases but this year it's gonna happen (YAY). I received some beautiful tracks by Kabuki from Frankfurt and from Chie Otomi who I met during my trip to Japan. She's a great composer in the ambient field and we are going to do a split cassette in autumn. The tape from Kabuki is coming out earlier. I’m just waiting to receive the finished tracks. The podcasts will run through as usual… No events are planned for now but let's see what my passionate mind comes up with ;)

In 2021 you released together with JakoJako a beautiful Album, called “Atlas der Gedanken”. Apart from two friends coming together, it was also two artists coming together that are modular synth enthusiasts! So, I'm sure you want to talk a bit about gear and what you love to work with recently, too ;-)
One big chunk of my life at the moment is to get to know my DAW Logic Pro inside and out. It’s a very powerful tool when used wisely. I found a new way of working with the software, and I feel much more comfortable in production now. During the pandemic, I was very focused on setting up my hardware studio and reading about synthesis theory, but when it came to arranging my tracks in the DAW I felt super stuck and the result was hardly finishing anything. I noticed it is important that I know my DAW, even if I use a lot of hardware. The new live loops feature in Logic is a fun way for spicing up arrangements ;) I love the synergy of digital and analogue. The result is mostly very organic. Furthermore, I´m working a lot with MFB’s Tanzbär 2. It’s a hybrid drum computer with sample slots and some analogue instruments. It has a fun step sequencer with lots of creativity. My modular system has been a bit neglected. I wasn’t so focused on sound design lately. But we will meet again soon ☺

In terms of releases, I also enjoyed your track “Hingabe” on the UKW49b Compilation “Sound of the Concrete Lady.” Are you foreseeing other, more dancefloor-oriented releases soon?
Thanks! Glad you like it ☺ I´m trying to, yes. DJing on weekends, digging new music, day job and life, in general, don’t make it always easy to squeeze creative studio time in but this year I will be more focused on dancefloor material. Besides, there's also ambient coming out. 

Where do you find your main inspirations outside music? Any artwork, book, movie, or situation that you want to share with us to discover?
Everything inspires me. I'm a curious person in general. I absorb and my head makes funny stories out of it. I'm writing a lot of stuff down that happens during the day. Being on the bicycle is somehow the most creative experience for me. Melodies show up in my head and I can sort out things and bring them in order. Damn, I should get an indoor bike in my studio… (you see)

TRACKLIST:

01 ovïd - sharp thorns (Captured Visions)
02 Ekstendia - Mental & Physical Platforms (spclnch)
03 randoom - dIsc1 (insecto)
04 Thomas Carmody - Express Delays (Odrex)
05 Daniel[i] - Thais (unreleased)
06 Shoal - Multiplicity (Harmony Records)
07 Daniel[i] - Erato (unreleased)
08 Jump Source - Empathy Dub (Jump Source)
09 Operandum - Darwinism (Sungate)
10 Jackson Lee - Three Mile Island (Mystical Disco)
12 Luigi Tozzi - Atacama (Non Series)
13 Conforce - Meuse Plain (Delsin)
14 Malin Genie - Mastadon (Malin Genie Music)
15 Faune - 5.34 AM (Ornate Music)
16 3KZ - This is always (Fides)
17 Plastic - No Language (Thule Records)
18 Alek S - Ostkreuz (Made of Concrete)
19 Francesco Devincenti feat. Alice Lobo - Submission (Pregnant Void)
20 LDS - Blau (LDS)