Her track “Attack” made Beatport’s 100 best Techno tracks of 2022 with Charlotte de Witte and Adam Beyer behind it, and two years after that she was back on the charts alongside Svetec with “No Trust”, which settled at number 5 on Beatport’s global Hard Techno list and stayed there for months. Charting in the Top 100 of both genres is uncommon enough on its own, and more so for a producer who taught herself every part of it.
So the record she’s just put out on Systolic isn’t the obvious next move, because it goes backwards rather than forwards. “This EP feels like a return to my roots,” she says, “to the sound that’s been with me since I discovered raves and fell in love with Schranz.” That self-taught streak goes back a long way, from piano at nine to a first pair of vinyl decks at seventeen, and production picked up on her own from there.
The three tracks run in a fixed order because each one holds a different state. It opens somewhere she describes as “a dark, unsettled place, lost, intense and full of feeling”, and from there Smoke carries the weight of it, “a feeling of loneliness, screams and tension, but also that first pull toward the light”. By the time Flow arrives the record has stopped resisting. “The strength I needed to keep going. To let go. To trust the process. To continue.”
What carries the whole thing is how openly personal it is, which isn’t something most hard techno records attempt. “Each track comes from a different part of my own story,” she says, “the highs and the lows, the darkness, the loneliness and the strength. Today I can say I’m grateful for every one of those emotions, because without them these tracks could never have existed.”
She’s spent the last few years between the studio and the road, playing across Colombia, Germany, Portugal, France, Switzerland, Belgium, the Netherlands and Los Angeles, and she still describes the first time she got to play Schranz in a club as a dream. This time the record is hers.