#MusicInTheAir Podcast hosts this week : DECKERT

Starting his musical career a decade ago traveling around the world as a bass player for the famous German Indie Pop Group “Jenniger Rostock”, in 2017 Deckert joined forces with Aaaron, producer and dj. Their first happy collaboration “LDOE” was unexpectedly successful on all the dance floors of the world, which gained to both of them a place in Connected, the English record label managed by the legendary Stereo Mc’s, who published his first EP as a solo artist.

Deckert’s sound is influenced by a large variety of genres, coming from his personal taste between Hip Hop, Emo, New Rave and years of raids in the heart of the Berliner Techno, a city that claims the best and most famous techno clubs in the world.

All of this translates into an interpretation that joins the melody with the contemporary house percussive soundscapes.

At the moment his collaborations with Aaaron comprehend EP acclaimed on record labels such as MoBlack, Chapter 24, Connected and Scarcity.

Moreover, the musician is just half of the “Deorbiting” project, which comes out on Oliver Koletzki’s Stil vol Talent record label. The latter is a German dj and record producer of dance and house music, who became famous on the international level with the piece Der Mückenschwarm published with the record label Cocoon Recordings. He does not give up to his Hardcore Punk spirit and today he is a bass player in Gray Noirs.

When and how did was your first meeting with music?

My first date with music was probably some kind of weird Eurodance back in the 90s. I definitely was a late bloomer when it comes to emancipation from all the radio randomness. HipHop was my first weapon of choice when I was 15, I really liked the heavy use of all the swear words. But even back in the days I cared more for the instrumental production than the lyrics. Most of the DJ Premier beats from those times still kick ass today!

What genre do you associate with and how would you define your sound?

Back in my late teens and early 20s I used to totally identify with the current genre I was listening to, like some kind of overachieving scene kid. Didn’t matter if it was HipHop, Emo or New Rave, my identity merged with the current phase. As I grew older and gained a little more consciousness, genres didn’t matter anymore and I tried to fit everything I liked into my personality, not the other way round. I might be producing electronic music right now, but I also play bass in a Hardcore band and listen to J-Pop under the shower. My music is some kind Frankenstein’s monster of everything like. In a good way. Hopefully! That’s not for me to decide!

What does it mean for you to be part of Villahangar and why did you decide to accept the invitation of this label to collaborate?

Long story short: I got introduced to Everything Counts in 2019 by a friend in Istanbul. He made me listen to some unreleased tracks and I instantly fell in love! We got in contact and they made a Remix for my first Solo EP in connected. During the process Chris introduced me to the Villahangar family and that’s how I ended up here! I really like the effort and the output of Villahangar and that makes me happy to be part of it! So many nice and talented people!

How was this track born?

This song was born out of a Jam Session I had with myself, a bass and bottle of wine. 90% of it was finished in this one particular night. I started off with a simple drum loop, played around on my Fender P Bass and added more and more elements. The vocal sample in the break is a pitched down Timbaland cut from “Try Again” by Aaliyah, one of my favorite R&B songs of all time. Hope that doesn’t get me into any copyright struggles! I always like to add little samples that have little personal note, but mostly just as an inside joke for myself.

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What are the atmospheres, the type of sound and what have you tried to convey with this song?

It’s very melancholic. I guess that’s one of the long term effects of having an awfully long emo phase. Pretty much everything I touch ends up being kind of sentimental. Which is no problem for me, I prefer sad music over everything else. The soundscape itself is a pretty wild mixture of different elements, but the fusion of everything combined works pretty well. At least I hope so. Which brings us to the theme. The title “Imposter the Syndrome” as well as the overall tone refers to the side effects of choosing an artistic lifestyle. You’re never really done with your skills, your work or your career and there always seem to be other artists that can handle their shit far better than you. “It’s been a long time” and it will probably never end. But it’s still worth taking every inch of this path.

The Various Artist is a project that brings together different artists. What do you think about? How do you live going out with other artists?

This is one of my favorite things about the electronic music scene. It’s so easy to get in contact with artists you like worldwide and start collaborations. Most of the people I met are very open minded and support each other in many different ways. There might be some lone wolves out there, but working together on a project always multiplies the fun.