"When I hear only straight 4/4 techno there's nothing for me." The Berghain resident explains how versatility shapes his creativity.
This approach recently continued on Gens, Gräser's second album for Ostgut Ton. Released four years on from the spellbinding Code, it saw Gräser draw from his favourite pool of influences—drum & bass, early rave music—to craft another LP that's both razor sharp and full of feeling. Gräser produced Gens in the cramped studio in the Mitte flat he shares with his wife and two small children. As with many artists, his life is balanced between his needs as a musician and his responsibilities as a husband and a parent. Gräser produces music in short bursts, between, say, trips to the kindergarten and family visits to Berlin's Natural History Museum.
A few days before Gens' release, I met Gräser at the Natural History Museum for a chat about his career so far. Sitting atop a stool in a cafeteria bustling with schoolchildren, he told me about his rise from a frustrated 20-something producer to a globally recognised artist, while outlining his vision for versatile techno and his quest for originality.