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The Kölner Geklöppel continues: After Superpitcher, Rebolledo and Lena Willikens infected Roof.fm with the spirit of Cologne and beyond, Daniel Ansorge turns in one and a half hours of techno bliss. You will remember Barnt from “Geffen”, the “unhinged track where odd noises and squeaks made you want to spray WD-40 on the creaky beat.” (Resident Advisor). Barnt’s unique blend of post minimal and post kosmische have indeed made him a German champion on the leftfield techno circuit. Pushing things further on the dancefloor, that’s his business.

ROOF.FM: Daniel, in 2012 you broke through with “Geffen”. What kind of year was 2013 for you?

DANIEL: It was a year of travelling and performing. I got to visit many countries for the first time.

And what was the best thing you experienced?

That was El Tepozteco, the small Aztec temple in Tepotzlan, Mexico.

You’re mix is a flush with unreleased stuff from labels like Beats in Space, Die Orakel and Cómeme.

Well, when I did the mix, everyone seemed to come back from their Christmas holidays and I happened to get some really nice stuff. So I tried to put it all together.

it’s easier to play challenging sets these days. Punters are more open-minded, more educated. Good times!

As a producer, charting the sonic unknown has been a constant. The same goes for Barnt the DJ?

The dance concept of the continous bass drum has proven so simple, yet liberating and freewheeling over the past thirty years, that there is no end in sight for the four-to-the-floor formula. It serves as a superb matrix for so many different ideas. And yes, I still make a lot of discoveries. It’s that freshness that I’m looking for in a track.

de:bug magazine once wrote that you choose to take the backdoor, a path in fact available to everyone. Do you think that the climate for pursuing avant-guarde stuff on the dancefloor has become better, both as a DJ and a producer?

As a DJ it’s definitely easier to play challenging sets these days. Punters are more open-minded, more educated. Good times! But I don’t think that it’s become easier now – or in any other era – to write original music. Achieving that really depends on yourself.


Do you see yourself aligned to the Cologne techno tradition?

Wolfgang Voigt was a major influence. Especially his label Profan and his project Gas. But I grew up in the north of Germany. So I got to listen to a lot of American and English stuff, and stuff from other parts of Germany as well, from Frankfurt and Berlin. But possibly the water in Cologne tastes indeed quite unique!

Are you working on an album?

Yes, I currently spend much more time in my studio. This spring, six weeks are reserved for exclusively making music, which is great.

What can we expect from your label Magazine this year?

Last year, we didn’t have much time on our hands. While my colleague Jens-Uwe Beyer (aka Popnoname) built himself a house, I was travelling a lot. That’s why there was only one release on Magazine. 2014 will be different: four releases are scheduled. One of those should be my album, which will be hopefully released in late autumn.


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