Oliver Huntemann: Fünf Jahre in das Geschäft der Techno

When did the compilation start coming together?    

I started quite early, because 2013 was already the five years anniversary of the label, and we started talking about it in November last year. Then we had some problems inside the label with the structure, but after that I’d already started in March with putting it together; asking the artists to do exclusive tracks, which always takes time. We had the release last week [in December], so you can imagine how long it takes sometimes. And then with the graphic design for the artwork, and the promotion, all of that belongs to making a good release.

When the tracks started coming together, was there anything about them that was consistent across them, a certain energy or trend?

I don’t really look for trends. It’s so funny, I try to follow my path; but always looking forward and not back. I like to hear new influences, which is not easy after 20 years, but I don’t follow the trends so much. I look at them, but I don’t want to follow, because I want to make my own style. If I look back, around seven or eight years ago there was this electro trend, and all the parties were electro parties, and two years later there was minimal. So trends are coming and going, and they are what keeps the whole scene alive, but it’s not all about the trends. The most difficult thing is being there all the time. If you work on something for all of the time, and you’re there for the whole time, and not having these super highs or super lows, being consistent, that’s the most difficult thing. But it’s what I try to do.

Even if you don’t want to follow trends, you want to keep pushing the sound forward.

Absolutely. So I don’t say, I stuck with my 90s stuff or whenever I was successful. I’m always looking for something new. But you never know, what is the next trend? Nobody knows this. The new trend is deep house, or maybe that’s over again already [laughs]. So that happens. I’m looking always for new stuff, and that’s the most interesting thing about electronic music in general. People are mostly looking forward trying to find something new, and not stuck in something back in the days.

I really enjoyed High Funf in particular, because it’s a very focussed dancefloor record. Were you trying to make a record something that packed a punch?

I always have a vision in my head of what I want to do, a vibe. And it’s always a bit different every time. Sometimes it can be a bit more stripped down, and sometimes a bit harder. I think I can combine it with my kind of darkness, some sounds that I usually use. Sometimes it’s tougher, and sometimes it needs to be a bit more relaxed. And often when I produce something in the studio, it feels to me totally different in the club. Which is strange after all these years, it surprises me too. I want to have variety, but it should always work on the dancefloor, for me. So when I play a DJ set, all my tracks should fit in a way in my set. That’s important to me, I don’t need to be a super artist who has to prove himself that he can do jazz music or whatever.

Functional is a word.

Yeah I like it. Because I’m a DJ, that’s what I stay for, and I still like it. So that’s my way. Keeping it simple, without being stupid [laughs]. That’s something that I like to do.

So what’s planned for you and the label in the next couple of months?

2014 is here already, and I want to record a new mix CD. The last ones took part in Sao Paulo, Paris, New York and Melbourne, and I think I’ll continue this. It’ll be a live mix, one of my DJ sets. I don’t know yet where I’ll do it, but it’ll be a live recording with the audience. I will continue this in the first half of the year, and parallel I will start working on a new album. I didn’t feel it this year, but I think it’s time, next year to start a new album. I don’t have a plan yet, but it grows at the moment.

Is it starting to form in your head, what sort of shape the album will take?

Not so particularly. I always know when it’s time to create an album, and not doing singles only, because it’s a different way to produce. An album tells a different story. So that needs some time, and I need to have only this complete feeling inside. I’m not thinking, I have this track in my mind, and this one, and this one could look like this. That comes later during the production time [laughs]. It’s as simple as that. 

Oliver Huntemann presents 5ÜNF – Five Years Ideal Audio is out now CD & Digital via IDEAL AUDIO