André Winter is one of those artists who have never defined themselves by volume, but always by substance. His sound is clear, powerful, emotional and never merely functional. Behind it lies a keen sense of energy, atmosphere and imagination. Over many years, he has carved out his very own niche in techno: balancing studio focus, the international club scene and his commitment to unique development versus looped repetition.

In conversation with Rave The Planet, André talks about the creation of his track ‘Noise’ for the Supporter Series (released on 13 February 2026), about creative pressure as a productive force, and about the journey from early project names and aliases to an artistic identity that today stands quite deliberately under his own name. The conversation touches on his home base of Hamburg, the question of how club culture must also be taken seriously in terms of cultural policy, visibility without the pressure to self-promote, and his conviction that techno will only remain alive if it continues to move forward.

Noise in the head, focus on the track

RTP: Hi André, and thanks for taking the time today to answer a few questions! First things first: on 13 February, the Rave The Planet Supporter Series #029 was released, featuring a track by you. A big thank you from us for that! How did this collaboration come about, and what was your approach or mindset when working on this track?

André: I was approached directly by Rave The Planet to see if I’d like to contribute a track to the Supporter Series. The idea for the track then emerged from the process itself, from the deadline that was getting ever closer. That feeling of pressure, focus, and at the same time a thousand things constantly intruding. The track is called ‘Noise’ and that’s exactly what the lyrics are about: concentrating and not letting yourself be distracted by the noise, neither in your head nor around you.

RTP: Wow, an exciting backstory, real-life situational creativity, so to speak… *laughs*

André: Yes, indeed!

RTP: Would you consider yourself a true ‘Hamburg local’?

André: Not really, as I was born in Oldenburg. But I’ve lived in Hamburg for many years now and it definitely feels like home. To be honest, I can’t imagine living anywhere else.

RTP: In your view, what sets Hanseatic reserve apart from other techno hubs in Germany, such as Berlin, Frankfurt, Cologne or Munich?

André: Sure, that image of Hanseatic reserve does exist, but I don’t think it always applies. When the mood’s right, things really get going here too. I’d almost leave Berlin out of the equation, because it’s simply on a whole other level – you have to give it that. But if you take Berlin out of the picture, I don’t think the differences between the German techno hubs are all that significant.

RTP: Let’s talk about your career. Looking at your development from the early days with projects like Freakazoid and aliases such as D Saw right up to international festival stages: at what point did your self-image as an artist fundamentally change?

André: I don’t think that happens at a single point; I’m still working on it. But in the early days, I meandered quite a bit musically, simply because I wanted to try out so many things. I think I had about ten different project names in my first ten releases. Motion Unit, D Saw, Gate 28 and so on. I quite liked that back then, because I also enjoyed hiding behind the projects a bit and found it exciting to confuse people on the outside. And often it was also the case that you needed different names for different labels. At some point, though, it became too much of a hassle for me. The idea of releasing under my own name actually came from outside. I had to get used to that at first, because it’s not a classic stage name and that makes everything more direct. But I’m very happy with it now. After all, the name is also relatively easy to pronounce, even abroad.

RTP: I agree. In many profiles, your name is associated with a clear, functional yet emotional aesthetic in techno. How would you describe what you stand for musically and culturally, and what does it mean to you that techno is also being recognised in cultural and political programmes outside Berlin?

André: I love being in the studio; I’m actually there every day. I love working on sounds and making music for myself first and foremost. Of course, I also think about how a track will work in a club, but before I even start on the arrangement, I have to reach that point where it grabs me and I really feel something. Where I notice that energy is building up, that something is happening that moves me. Until then, I often stay in a loop, searching for exactly that moment. Only when it’s there can I take it further and flesh it out, and that’s when this clear, functional aesthetic emerges. And I find it fundamentally very positive that techno is also finding a place in cultural policy programmes outside Berlin. Especially because spaces in big cities are getting smaller and smaller due to gentrification, modernisation and commercialisation, and culture is often the first thing to fall by the wayside. When major cities consciously take countermeasures and see nightlife as part of culture, that sends an important signal.

RTP: Okay, about that loop and that moment: does it always depend on the individual whether that ‘click’ happens quickly or not so quickly? Or, roughly speaking, how many of those ideas end up becoming a finished track later on?

André: You put that ‘click’ thing well, because it really does happen. Actually, there’s a sort of routine involved that’s important, especially when you’re working with other people and need a result in the end. At the same time, though, you can’t always force it, and of course there are moments when you just can’t make any progress. In that case, I see two options. Either I just carry on until progress resumes, or I distract myself briefly, take a break or go out for a bit, and then start afresh. As a rule, though, the ideas do end up as finished tracks. If I set something aside, I usually don’t pick it up again later. In that case, the basic idea was probably just not strong enough.

RTP: And on to the second part: what would be a fundamental idea or approach to both preserving existing scene spaces and creating new ones, given that cultural budgets are becoming ever tighter and the hurdles on the administrative and financial sides are getting increasingly insurmountable? Even a UNESCO label helps with public perception, but it doesn’t automatically lead to a structural rethink within government departments.

André: I believe, above all, we need to understand that club culture is part of urban culture and not just an event. This allows for the creation of more long-term structures, rather than always just temporary solutions. At the same time, a lot comes from the scene itself, and it must be able to develop; that takes time. Small, independent venues or temporary formats have always been a driving force. It’s important that such initiatives are not merely tolerated, but are also given a degree of planning certainty. Ultimately, it’s about striking a balance. Creating conditions that don’t crowd out culture, so that existing spaces can remain and new ones can emerge.

RTP: Let’s talk about the work behind the decks. Over the years, you’ve played in a wide variety of settings, from intimate clubs to large open-air festivals. What do you learn about yourself as an artist when you move between these different worlds?

André: I think that, above all, you learn about yourself through all that travelling. You’re out of your own bubble, you have plenty of time to think and you automatically become more reflective, especially when you’re further afield. Clubs and routines are often quite standardised these days; most DJ booths look almost identical worldwide now. The difference lies more in the surroundings – the city, the people, the context. And, of course, the energy on the dance floor, which is different everywhere. And that’s exactly what sticks with you in the end.

RTP: Clubs, collectives and local scenes are often seen as the backbone of electronic music. Which places or structures have had the greatest influence on you personally, and why?

André: To be honest, I’ve never really been part of a collective or a traditional local scene. I’ve been shaped more by my immediate circle – the people I work with, those who support me, and the way we influence and develop each other. Ultimately, it’s less about structures and more about relationships and collaboration that grow over the years.

RTP: I see. How do you perceive the changes in European club culture over the last ten to fifteen years?

André: I’d say it’s all happening at once, but not in any one direction. A lot of things have become more professional, production, technology, booking structures, and the processes too. At the same time, in other areas there’s actually more chaos or less professionalism, because everything has become faster and more short-term. It’s certainly become more commercial, but I also see a counter-trend. There are still plenty of people who are consciously working against the trend towards mass events and trying to keep things small, raw and independent. And it’s definitely become more political.

More professional, more political, more contradictory

RTP: Let’s take a look at your milestones. Which stage of your career was a real turning point for you?

André: I didn’t have that one release or that one date when everything suddenly changed. For a long time, making music my career wasn’t really an option for me; it just wasn’t something people in my circle did. That’s why I always did it on the side. But I kept coming back to it, and through commissions and projects, it eventually took up more and more of my time. Until at some point I asked myself why I was actually resisting it so much. And then it eventually became clear that maybe this is simply my path, and so I went for it.

RTP: So you’ve basically grown into it naturally. And today your name regularly crops up in connection with renowned labels, international line-ups and major festivals, whilst you’re also closely associated with Oliver Huntemann’s Senso Sounds. What does this kind of visibility mean to you?

André: Visibility is a bit of a tricky thing for me; I don’t really like being the centre of attention. I’d rather let the music do the talking. In my early days I played live a lot, but at some point I couldn’t cope well with the pressure and stage fright. That’s why I then consciously focused on the studio and specialised in that, and during that phase I started out producing bands and later on other artists and DJs as well. I’ve known Oliver for practically my entire career, first in Oldenburg, and later in Hamburg. That’s how our collaboration developed. And he was also the one who eventually motivated me to start performing again. Given this long-standing connection, it was only natural that we’d release music together on a regular basis.

RTP: How do you deal with the expectations that come with being seen as an ‘established name’ in the techno scene?

André: I think the biggest pressure for me comes more from within than from outside. But I don’t see that as entirely negative – quite the opposite. That pressure is also what drives me and keeps me motivated. It’s what ensures I go into the studio every day and try to develop my craft. And I believe that, in the end, that’s what must always remain the most important thing. If that stops, it loses its meaning.

RTP: You’ve worked with Tommahawk on Soul Flight, among others. She’s now closely associated with RTP too. Collaborations like that are certainly exciting, especially when different generations and levels of experience come together in the studio, aren’t they?

André: I wouldn’t really think of it in terms of generations. I work with all sorts of different people at different stages of their careers. And what’s actually exciting is always the exchange. Everyone brings different perspectives, energies, ideas or sounds to the table. In the end, you learn from each other, regardless of who’s been there for how long. I generally really enjoy working with other people because you get direct feedback. I like this personal exchange because you can capture a person’s character much better in the music. That’s why I don’t like working remotely; I prefer actually being in the same room together.

RTP: It’s also much more direct than just sending tracks back and forth, because you’re creating together in real time. And speaking of directness: how important – or annoying – is self-promotion via social media for you?

André: Social media is, unfortunately, my arch-nemesis; to be honest, it’s the part I enjoy the least, because it simply takes time away from the creative side of things. I know, of course, that these days it’s at least as important as the output itself, and in some respects perhaps even more so. And that’s exactly what I find difficult at times, because social media has often come to be seen as having a very high priority.

No templates, no stagnition

RTP: Do you see yourself more as part of a tradition within techno, or as someone who actively wants to break new ground?

André: Definitely breaking new ground. That doesn’t necessarily have to be completely obvious in every track, but it should somehow underpin the whole thing. I have little interest in simply reproducing what already works. I want to feel that there’s still room for development. To emphasise that in practice, I never work with templates, for example. I actually start every track from scratch.

RTP: And looking ahead to your new tracks: can you give us a little sneak peek of what we can expect from you in the near future?

André: Following the Supporter Series with my track “Noise”, a re-release on Sismique is coming up. A few remixes are in the works, as well as a new single, a new release on Senso Sounds, and the second part of my Compute series is on its way, again on vinyl.

RTP: Brilliant, we can’t wait! Final question for you: you’re heading out for a night on the town. Where would we be most likely to bump into you?

André: At the moment, I actually quite enjoy going to gigs in my spare time. I think last year I went to indie gigs at Hafenklang more often than I went to clubs in my spare time, even though I’m there often enough anyway. That’s more of a way to unwind.

RTP: Thanks for the chat!