Interview: Hannes Bieger reflects on 'Illusions' and his incredible 2024
This year, we were fortunate enough to have Hannes Bieger back on the ASW label. His ‘Illusions’ single was a highlight of the year, so before 2024 is up, we wanted to catch up with the man himself on this release, how his year has been, and what is in store in 2025. Dive in to discover more…
Welcome back to ASW Hannes, we are hyped to have you back on the label. How has 2024 been for you?
Hey, and thank you! I’m so happy to be back with my Awesome Soundwave tribe. This is my first ASW release since my 2020 album, not counting the brilliant ‘Poem for the Planet’ remixes by Steve Bug and Christopher Coe. This year has been quite the rollercoaster, pretty much like every year since the pandemic. But lots of good things happening – I launched my own label elektrons, I just finished my next album, which will be released on my own label in early 2025, I have started a successful masterclass program at my Berlin studio, and I’m in the final leg of my summer tour, which took me all across Europe and to India, Mexico, Canada and the US. Guess what, I’m busy as always…
It was an honour to release your ‘Illusions’ single earlier this year, enormous peak time action. Is there a story behind this track? What does it mean to you?
Likewise! I made the track last summer, in a period where I was somehow super inspired and laid the groundwork for over a dozen tracks (most of which will now be part of the album). I’m very pleased with the results of this very productive phase, but the time before that was a bit of a struggle artistically, I have to admit.
Contrary to many colleagues, I didn’t make a lot of music during the pandemic. Amongst other things I had to move my entire studio, I had to oversee the construction of the new one, and that was a very stressful time. And after that I wasn’t really sure how to develop my style. I was playing many shows with Carl and the ASW crew, but between these artists I play the slowest, most melodic music, and part of me wanted to go harder and faster. But on the other hand my background is more slow, melodic and progressive. I got confused a bit between these two poles and didn’t really know what to do for a while.
I released my Balance Series compilation in 2022, and most of the new tracks that I was involved in I had started to work on before Covid. I also toured so extensively in 2022, that I barely had the time to make new music, besides my stylistic struggles. That dam broke finally in early 2023 when I just started to lay out one track after the next one, freeing myself from any conceptual considerations. Many of the tracks I created during this time are very melodic and synth driven, but right in between these new cuts I also happened to make ‘Illusion’, which definitely is one of the grittiest and most powerful tracks I have ever produced. I wanted to have something that really slaps in my live set, and so far the track hasn’t disappointed… I’m glad it found a home with ASW, as I have the feeling it sits very well with the label’s ethos!
“I wanted to have something that really slaps in my live set, and so far the track hasn’t disappointed… I’m glad it found a home with ASW, as I have the feeling it sits very well with the label’s ethos!”
Tell us a bit about how you made the track, which gear did you use?
As always, it’s a good blend between hard and software instruments. I think I’d like to point out two aspects – first of all, the synth arrangement is rather minimalistic, the track is being carried more by the drums and the bassline and less by the melodies, which is a bit untypical for me, but I like the result so much that I believe we will see more of this direction at some point later next year after the album. Also, I have used quite a bit of saturation and distortion in this track, the textures are definitely rougher than my sometimes quite delicate synth layers.
Another busy year on the road for you, what have been some highlights of recent times?
With the current state of the industry, things have become more unpredictable, at least that’s my experience. Sometimes you have high expectations and get disappointed, and then on the other hand shows where you didn’t expect much happen to be absolutely massive.
Some highlights of this year include my elektrons label launch at Ritter Butzke in Berlin – it was Berlin at its best… no phones on the dancefloor, everybody so much into it.
I also played Fusion festival for the first time, and my debut took place on the massive “Tanzwüste” stage. Fusion is basically the Berlin nightlife concept in cinemascope, it was such a beautiful experience!
Bar Americas in Guadalajara was incredible, LooLoo in Mexico City is becoming one of my favourite venues in the world, I recently played Stereobar in Montreal again, and it proved once more why Stereo perhaps is my absolute top contender for clubs worldwide. The sound system is incredible, and the crowd this legendary venue attracts is so beautiful.
Schrotty in Cologne absolutely delivered, Skyline in Glasgow was small but full of super dedicated music lovers, which I would prefer anytime over a crowd ten times as big of musically less educated punters, and one of the shows that really, really surprised me was on the island of Lipari north of Sicily for Eolie Music Fest – what an energy!
I probably have forgotten way too many places which deserve a mention, but recapping all these amazing events I think I can consider myself lucky…
As time and dance floors change and evolve, is there anything in particular you would like to see change or start to see?
For my personal taste, the recent trend towards these big audiovisual shows has reached a bit of a tipping point. Some concepts are incredible, but I don’t like that the music sort of slips out of focus a bit too much for me. Many if not most of the shows I have just mentioned were almost the polar opposite – with the music itself front center, few to strictly no phones in use, and everyone just beautifully united in the moment.
I would love to see more of that. For me as a lifelong musician that aspect always comes first, and I am happy that I still can find likeminded people across the globe!
What do you have planned for the months ahead?
After the ‘Illusion’ release, I am focused on my upcoming album, with a few singles leading into it. One highlight was on Dec 1st – I played the album in full length for the first time together with a full orchestra, the Orquestra Filarmonica, in San José/Costa Rica. I will continue with my masterclass program and start making more music, and we are also starting to put together my album tour.
Finally, can you leave us with a live act our audience should look out for? And why?
In spring, I released an EP by the incredible Anahit Vardanyan, it was the first release by any artist other than myself on elektrons. I simply love her work, it’s very musical, which isn’t a surprise, as she is a classically trained pianist. Originally coming from Armenia, her music is based on an interesting blend of influences. I definitely want to work with her again, and can only recommend checking her out, she’s amazing!
Thank you Hannes and we look forward to hearing more from you 2025!
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▶ Hannes Bieger’s single ‘Illusions’ is currently available via all of the digital platforms.