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True Techno Podcast

True Techno Podcast

Von: True Underground
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 Welcome to TU’s True Techno Podcast – the definitive, invite-only series curated by True Underground. Showcasing elite techno artists from across the global scene, each episode delivers powerful DJ sets and exclusive mixes spanning hard techno, industrial, acid, Detroit, raw, deep, hypnotic, hard groove, and hardstyle. Expect nothing but high-energy, expertly curated sounds that define techno. True Techno is syndicated worldwide via Apple Podcasts, Amazon Music, Deezer, Stitcher, Pandora, SoundCloud, and on www.trueunderground.one.© 2025 True Underground - All Rights Reserved Musik
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  • Lola Kay | True Techno 103

    Lola Kay | True Techno 103
    Dec 18 2025
    © 2025 True Underground. All rights reserved. Lola Kay’s relationship with music was never passive. It was lived, absorbed, and embodied long before she ever stood behind a booth. Growing up in Minsk, Belarus, Lola Kay‘s childhood unfolded inside theatres rather than classrooms, shaped by the backstage corridors where her mother worked and where atmosphere, tension, and emotion were constructed night after night. Drama, sound, and silence all had purpose. At the same time, she was already dancing, learning intuitively how rhythm moves the body and how music alters mood. That early immersion taught her something foundational: music is not decoration, it is architecture As a child, Lola Kay was introspective and self-directed, spending long stretches alone with records and artwork. Electronic music arrived early, not through trends but through curiosity. Digging became instinctive. The raw energy and strange aggression of The Prodigy left a lasting imprint, a first encounter with electronic music that felt unruly, physical, and alive. It was less about genre and more about sensation, something she would later return to again and again. Dance became her first profession, and with it came a deep study of musical cultures. Classical, jazz, swing, and the lineage of artists like Duke Ellington and Louis Armstrong were not abstract references but living histories she felt through movement. Each dance style demanded immersion into its cultural context, its era, its emotional code. Music was never separated from place, time, or identity. That obsession with understanding where sound comes from still underpins her approach today, whether she is producing or layering four decks into a single evolving narrative. Her DJ sets are built with the body in mind. Groove dictates structure. Energy dictates pacing. Tracks are not standalone moments but emotional blocks that create tension, release, and continuity. Theatre remains present in her work, not as spectacle, but as cohesion. One atmosphere runs through the entire set, a full-circle arc where nothing is accidental and nothing is wasted. Leaving Belarus was never romantic. Growing up in a post-Soviet environment as a free-spirited, open-minded young woman came with friction and constraint. Escape was not a desire but a necessity. Barcelona became her exit point almost by chance, following visits that revealed a city driven by openness and rhythm, and an unexpected opportunity to open a dance school. The city gave her space to exist, to experiment, and to begin carving out an artistic identity on her own terms Community became central to her rise. Collectives were not branding exercises but survival structures. House of (S)PUNK, founded by Perrine aka La Fraîcheur, was pivotal. It was the first time someone truly believed in her as a producer and pushed her to release music. That belief translated directly into action, resulting in her debut EP and a clearer sense of artistic direction. Alongside this, her involvement with YO-YO allowed her to exist unapologetically as a queer artist, prioritising FLINTA lineups, safety, and genuine community over industry optics. Stylistically, Lola Kay resists rigid definitions. Mental techno, hardgroove, Detroit, and 90s and 2000s references appear not because they are fashionable but because they carry the emotional weight she is searching for. Her mixing is architectural, using multiple decks to layer texture, rhythm, and atmosphere into something hypnotic and primal. Berlin looms large in this evolution. It was the first place where techno fully made sense to her, where intuition aligned with sound. The city did not teach her what to like, it confirmed what she already felt Her influences extend beyond records to the people who sustain the culture. Artists like DVS1, Luke Slater, and Efdemin matter not only for their sound but for their commitment to the scene. DJs such as Steffi, Lady Machine, Paula Koski, Bashkka, Philippa Pacho, and Isabel Soto continue to shape her understanding of what it means to give back while pushing forward. Visualisation is central to her process. Before a set, before a recording, she imagines the space, the crowd, the emotional temperature of the room. A single mood is chosen and followed with discipline. This is why her mixes feel transportive rather than scattered. They are designed to take the listener somewhere specific, even if that destination remains undefined. The venue matters. So does the city, the weather, the time slot, and her own internal state that day. Final playlists often come together hours before she plays, once the environment has been fully absorbed. Production remains deliberately minimal. A laptop, mobility, freedom. While she dreams of one day building a professional studio, she values the ability to create anywhere, guided more by emotion than equipment. That emotional clarity became especially pronounced on Run Lola Run, a turning point EP inspired by the iconic ...
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    1 Std. und 3 Min.
  • DJ Morgan | True Techno 102

    DJ Morgan | True Techno 102
    Nov 20 2025

    © 2025 True Underground. All rights reserved.

    DJ Morgan, producer and founder of HardNRG.com – one of the first major online platforms to promote hard house across the United States, showcasing exclusive sets from leading artists around the globe.

    His own productions and DJ mixes blew up his international profile, seeing him tour extensively and earn a reputation as a highly influential figure in the early US hard dance movement. “When I went to my first rave, it all came together – a scene developing before my eyes, opening me up to entirely new ways of thinking about music,” he recalls.

    The 1990s US dance scene was raw, experimental, and fiercely inclusive. “Everyone was welcome. Positive vibes came in, and out went the punk rock and industrial angst,” says DJ Morgan. While Europe evolved into a vast festival culture, America’s underground stayed stripped-back and communal. “Out of a thousand records, you might find twenty or so dedicated to harder styles,” he remembers. The arrival of early internet record hubs like Juno Records and Banging Tunes finally gave him access to the European records that would later inspire his mission.

    In 1999, DJ Morgan launched HardNRG.com, one of the world’s first free online mix platforms – years ahead of SoundCloud or Mixcloud. “The goal was simple: get mixes from the best artists across Europe to ravers for free, and help spread the music across America.” The site became a global hub for hard house mixes. It featured some of the era’s biggest names, including Andy Farley, Anne Savage, BK, Captain Tinrib, Dynamic Intervention, Lisa Lashes, Karim, Lisa Pin-Up, Nick Sentience, Rodi Style, and Superfast Oz.

    Building on that success, DJ Morgan co-founded Lotek Records, releasing tracks from Defective Audio, Dynamic Intervention, Pranksterz, Rubec, Chris C, and Madam Zu while producing his own material for Lotek and releases on Kaktai & DIP Records, including No Law, Unknown Technique, and Severe Trauma, rooted in harder-edged trance and NRG.

    DJ Morgan helped pave the way for the early hard dance scene in San Francisco. “We started a club night and threw several underground parties while helping others in the scene put on events,” he explains. “Many of our DJs went on to play across North America and internationally. I had a great run of it myself, playing regularly across the US and Canada, and as far as the UK, Finland, Japan, and Australia.”

    In parallel, he built a career in the video game industry, working with Activision, Sega, EA, and Blizzard on projects for major franchises including Command & Conquer and Warcraft. “My background in music allowed me to immediately speak with audio designers and engineers to hit the ground running,” he says. Now based in Thailand, Morgan has returned to DJing with a renewed focus, performing across Techno, Hard Techno, Hard Trance, and Psy-Trance. “I play what I like, rather than chasing what is popular. This way, I’m playing the music I love and am excited to share with everyone.” With upcoming gigs in Bangkok, before heading to Pattaya and Phuket, the former US hard house pioneer continues to connect with audiences by combining the underground energy of his past with today’s global hard dance revival.

    Soundcloud https://soundcloud.com/djmorgan303 Instagram @djMorgan303 Website: www.djMorgan.com

    The post DJ Morgan | True Techno 102 appeared first on True Underground.
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    1 Std. und 9 Min.
  • True Techno 101 | M.F.S: Observatory

    True Techno 101 | M.F.S: Observatory
    Nov 12 2025
    © 2025 True Underground. All rights reserved. Italian-born and London-based, Mattia Turchetti, known as M.F.S: Observatory, has spent the past decade refining a sound that sits between engineering precision and raw club instinct. His productions and DJ sets balance M.F.S: Obervatory’s hypnotic repetition with emotional restraint, merging the discipline of a sound designer with the pulse of a dancefloor tactician. “My first musical memories come from home,” he begins. “My brother introduced me to electronic music, while my parents played Italian artists like Pino Daniele, Fabrizio De André, and Francesco De Gregori. That mix of emotion, melody, and rhythm shaped my ear from an early age. I started experimenting with drum machines and early software, fascinated by how rhythm could control a room. That curiosity slowly evolved into DJing and then producing my own music.” The alias came later, carrying both geographical and philosophical weight. “I’m from a village facing Mount Vesuvio, where the observatory stands, and that idea of watching and listening from above felt powerful. We started as a trio, but over time it became my solo project. The name stayed because it reflects how I approach music: always observing, studying, and experimenting with sound.” Growing up in Naples meant being immersed in a rhythmic culture where groove is everything. “I grew up surrounded by the house and tech-house scene in Naples, which has a strong groove-based culture. Later, after moving to London and traveling through Europe, I was drawn toward deeper and more hypnotic techno. Artists and labels that build emotion through minimalism and tension influenced me most; I’ve always been attracted to music that pulls you in slowly.” Turchetti’s formal background in sound design gave structure to that instinct. He studied Music and Sound Design in London, followed by a master’s in Sonic Arts at Goldsmiths. “Sound design taught me to treat frequencies as materials and to shape space, not just fill it,” he says. “Every sound has a role and emotional weight. I think a lot about how frequencies interact and how to use silence and dynamics to build tension – both in production and in a DJ set.” His early career took shape through small underground labels that supported his first releases before his name began appearing on international imprints. “It started with small underground labels that believed in my early music. Those first releases helped me build connections and confidence. As my sound evolved, international labels began to notice, and my tracks started reaching new audiences across Europe. Playing abroad and hearing my music in different cities were important milestones that showed me this could grow into a real career.” That career has now stretched across respected outlets such as Kneaded Pains, Second State, Illegal Aliens, Diffuse Reality, and his own Observatory Music, which he uses as a base for experimentation. Releases like Into The Matrix, You Get Me Flustered, and Antares mark his evolution toward a deeper, more spatial sound. “It has become more textured and focused,” he explains. “Early on I was driven by pure rhythm and energy, while now I explore space, layering, and atmosphere. My setup with the Akai Force, Elektron Syntakt, Elektron Digitone II, Eurorack, and Ableton Live helps me capture both structure and spontaneity. Recently, I’ve been experimenting with Baby Audio’s Tekno plug-in, which delivers a powerful punch on drums when combined with the analog tones I create on the Elektron machines.” His process starts from rhythm and grows outward. “I jam on the Syntakt or Digitone II until I find a groove that feels alive. From there I record into Ableton Live and arrange using the Akai Force as the main hub. The Eurorack adds evolving atmospheres and subtle movement. I like to shape each track like a DJ set — building tension and release, making sure every element has its moment.” That same attention to tension and release defines his approach to the booth. “I approach every set like a story. The opening tracks set the atmosphere, and from there I follow the crowd’s reactions. I never plan too tightly; I prefer to read the energy in the room and respond to it. The goal is to make people lose themselves in the flow and feel part of a shared journey.” He adjusts instinctively to different contexts. “Each city has its own energy. In Berlin, I focus on darker, hypnotic patterns; in London, I feel freer to experiment with groove and rhythm. Touring has taught me how sound behaves in different spaces.” Parallel to his own artistry, M.F.S: Observatory teaches production and DJ techniques, often bridging technical knowledge and creative intuition. “Teaching came naturally after years in the studio and on the road. I wanted to share what I learned and help others find their sound. My philosophy is to combine technical precision with ...
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    1 Std.
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