Music Production

He taught himself the craft – mixing, sampling, producing. The very first release turned heads: critics called the 1989 LSD EP “Competent” the only German production to date that held up in international comparison. Two years later the album “Watch Out for The Third Rail” drew wide praise, above all for its considered and technically outstanding production.

In 1991 the Blitzlabor gave him a studio of his own. Together with the Blitz Vinyl label it became the first port of call for rap made in Germany – and stayed that way after the label was wound up in 1996. It was here that “Die Organisation” was made in 1995, an album featuring 25 acts from four nations and containing, at over 18 minutes, one of the longest German rap tracks ever recorded.

The work led abroad early on: in New York, Future Rock recorded the KAOS album “International Dope Dealers” with Brooklyn rapper King Grand. Next came “Keep Your Soul Together” with James Brown’s saxophonist Maceo Parker – with Fred Wesley and Pee Wee Ellis, also from the ranks of the JBs, taking part.

He never stood still stylistically. A whole series of instrumental albums appeared under the title “Beat Bombs”, alongside remixes for Die Fantastischen Vier and Advanced Chemistry, later for Gentleman and Jack Radics. With Creme de la Creme came a deal at EMI and, in spring 1998, a hit with “Letzte Nacht”; the album “Porno Funk” wove together intricately arranged borrowings from easy listening, jazz rock, sixties beat, electropop and seventies funk.

Between 2000 and 2003 he was involved in albums by Gianni, Nesti, Die Firma and Fader Gladiator – including the production of Die Firma’s hit “Die Eine”. In 2005 he moved the Future Rock sound into a funky uptempo club style with “Dynamite”, and in 2015 combined analogue drum machine beats and vocoder effects with arpeggio synths and wobble bass on “E1ns”.