In the pulsating heart of techno’s global landscape, emerging talents are continually pushing the boundaries of sound, captivating audiences and earning their place in the spotlight. One such artist making waves is BJØRNSON, recently hailed as a breakthrough act in Germany by the prestigious Faze Magazin. With a distinctive blend of raw, hypnotic beats and peak-time energy, BJØRNSON‘s musical journey is a testament to dedication and authenticity.

In a candid interview, we caught up with BJØRNSON to delve into the intricacies of his creative process, influences, and aspirations. From navigating diverse techno styles to engaging with his audience both online and in electrifying live performances, BJØRNSON shares insights into his evolving sound and the pivotal moments that have shaped his career.

Join us as we explore the world of BJØRNSON, a rising force in the techno scene, as he reflects on his journey so far and sets his sights on the future.

Congratulations on being recognized as one of the breakthrough acts in Germany by Faze Magazin! Did you expect this, and how did you celebrate the announcement?
Thank you for your kind wishes. No, I didn’t expect that at all, and I was really surprised. My girlfriend and I celebrated it with a nice dinner and a glass of wine. At this point, I would like to say “thank you” again for your support.

Your releases on labels like KDraw and Hypnostate showcase a diverse range within the techno spectrum, from raw to peak-time. How do you navigate these different styles in your production process, and do you find one more challenging or rewarding than the other?
Yes, that’s right. It feels like two hearts are beating in my chest. One for peak-time techno and one for raw-hypnotic. Which style I produce is usually decided on the day I focus exclusively on the ideas in my head. On this day, I just write the ideas into the DAW, save small loops, and move on to the next one. The various sets or podcasts that I have recently listened to have a big influence here. Unfortunately, it’s not always as easy as it sounds. You hear and read a lot about how important musical identity is for further development, and that sometimes makes you feel a bit pressured to make a decision. But so far, it’s working quite well. I also always bring these two styles together in my sets when I feel it fits. Producing peak-time techno is definitely a bit more complex because there are more elements in the track. In my projects, I sometimes end up with between 40 and 50 tracks. That wouldn’t happen to me with a more raw project. But I love both.

Your podcast on SoundCloud consistently delivers engaging mixes full of pounding techno. Can you share some insights into your creative process when curating the tracks for your mixes, and how do you keep each episode fresh and unique?
Three things are important to me about my podcast. Whenever possible, I try to upload a set of my last gigs. I try to include unreleased tracks from producer friends to support them. And, of course, it has to be forward-driving techno. And it is a good way to test my own music.

Germany has a rich techno history. How has your cultural background and the techno scene in Germany influenced your musical journey and the evolution of your sound?
I come from a small village in southern Germany, on the edge of the Black Forest. Unfortunately, techno has never played a big role here and doesn’t even today. I first came into contact with techno through my older cousin and his friends. There was one of them who originally had his roots in Berlin. And so I heard tracks by Mr. X & Mr. Y (the older ones know who is behind this project), Thomas Schumacher, Lexy & K-Paul, Kai Tracid, etc., for the first time.

After my first visit to the Streetparade in Zurich in 2005, I really wanted to learn how to DJ. I put all my savings into two turntables and a mixer. To buy vinyl, I had to take the train to Stuttgart with a friend, where we always left all our money behind. That was very exciting. Currently, a lot of influences come from my favorite producers like Wehbba, Alex Stein, and Victor Ruiz. But also by artists like Ramon Tapia, Truncate, or Ignacio Arfeli and Bart Skils.

As a DJ and producer, how do you balance staying true to your signature sound while also exploring new sonic territories and pushing the boundaries of techno?
I would say it’s not that difficult. I’m open to a lot of things. In my 20 years as a DJ, I have played many different styles. From electro to house, tech-house, minimal, and now techno. The important thing is that I like it. If I don’t like it, I won’t even try it. That wouldn’t be me anymore. And I think authenticity is very important. In order to discover new things for myself, I listen to a lot of music and watch a lot of sets on YouTube.

Collaborations can often bring out unique elements in an artist’s work. Are there any fellow DJs or producers you dream of collaborating with?
When it comes to collaborations, I lack a bit of experience. I just recently started one with a producer friend. Let’s see where this leads. There is no such thing as a dream collaboration. There are a few producers that I would really like to work with. I would name Wehbba, Alex Stein, Victor Ruiz, and Ignacio Arfeli first. I’ve learned so much from them, and they’re just amazing producers.

The techno community is known for its passionate and dedicated fan base. How do you engage with your audience, both online and during live performances, and what role do your fans play in shaping your artistic direction?
I try as best as possible to use all social media channels regularly. Even though it’s difficult for me to keep busy creating new and interesting content in addition to music. But it’s a good way to get in touch with fans and win new fans. Of course, it’s particularly fun to come into contact with fans during live performances. I like the exchange. At the moment, fans don’t play a big role in the development of my artistic direction. But you are welcome to contact me at any time. Both in person or online. I am open to new things, but also to criticism. In the end, I make the decision alone as to where I want to go musically. I’m not the type of person who follows trends. For me, this also has something to do with authenticity.

Being recognized as a breakthrough act is undoubtedly a significant achievement. What goals and aspirations do you have for the future, and how do you plan to build upon the success you’ve achieved so far in your techno career?
I’ve been making music for more than 20 years, but I only made the decision to take it seriously and pursue goals about 3 years ago. From that point of view, I am very happy with what I have achieved so far. I still have many goals. I wrote them all down in a book at home in my music studio. Of course, there are a lot of big events and a lot of names from big labels. But I once learned that you should only talk about your goals once you have achieved them.

I am very happy that I now have a team around me that supports me a lot and works with me to put these goals into practice. The current focus is on getting more bookings. But I believe that I am in the right hands with my new booking agency “Family Affairs”. Thanks for having me.