I love to play a bit more groovy, a bit more up. But this record is so into the groove. I tend to pitch it up into the plus, it gets quite rocking. But then when you pitch it down, it grooves more. It surprised me a lot, but these are the kinds of records that I love. Ones that are versatile, where you can play them slow or fast. If you play it at the beginning of the night, people will ask you what it is. And the same people will come up to you later on in the night if you play it again faster because they won't recognize it. This kind of thing is very rare these days, even though it used to be all around in the past. I often try to do it in my own productions too.

I know Marco and Dario quite well, but I was struck the first time I heard this at how brothers could fix so well together. Both tracks have a dark sound, but also an old-school vibe. But you can tell they didn't get it through sampling. I play both tracks together, so I remember spinning a CD of Marco's track at Harry Klein one night. I could see that Marco was quite happy, but then I looked at Dario and he didn't seem so happy that I had picked Marco. And then I brought in Dario's track underneath, and they looked at each other and were really surprised—each time there was a break, one fit exactly into the other. [laughs]

I met Daniel about five years ago, and he often made tracks in the same way. Very dubby, but for the dance floor. Now, he goes a lot of different ways. I think you can hear Daniel in every track though. This Kann record is among his most melodic. You can hear him in it, but also a bit of Kann. Everybody is trying to make loop records right now, but I was really surprised at how deep Daniel was able to make it, but still have it work for the dance floor. I love the filters that he uses.

This is a Vakant record. But I have to say that I was really surprised when I heard it. The last time that I heard Nico play as a DJ, he played totally different than the first time. He played deep techno the first time, then the last time it was quite funky—but not in the way that everyone is trying to do it right now. In this record, I can hear that set. I really like it when there are records on Vakant that aren't so dark, because I think people think that it's quite a dark label. My first records for the label were very dark, but I always tried to put a little bit of light in them. This does that too.

Organic music. I know Florian [Schirmacher], because he helped me with my full-length on Vakant. They have a lot interesting machines that they use. And I'm quite a big collector of analogue stuff as well. Some instruments I don't use very much, but I love to have them because I know when I get older that I will come to them and want to use them. I'm not a computer nerd, and when I have an analogue machine I have less possibilities. But I like that. I only use software often only to record, and nothing else. As an analogue nerd, I listen to things here and can really enjoy it in a different way.