ministry of sound: Bionik was one of your biggest singles to date, but on the LP it has become Lotuseffekt what¹s the story here?
Eulberg: Yes I know, that seems to be a bit strange. The EP was thought to be a teaser for the upcoming album. We wanted to tell the people that the next theme is about bionics.But then I wasn't able to finish the album as quick as I thought because of travelling to much. And the real titel is just shown to today in the context of all the other bionic-examples, but people allready identifyed “Lotuseffekt” with the titel “Bionik”. I'm sorry for that.
ministry of sound: This is your second LP of the year, do you find making music a rapid process?
Eulberg: It's not really my second LP, because “Heimische Gefilde” was more a compilation of older tracks in new edits and a bit of education about birdsinging. It took me a very long time to finish “Bionik”, because I listen to the track for 100 times till I'm satisfied. Finding ideas sometimes is a rapdi process, but producing well balanced music takes much time.
ministry of sound: Do you have a constant flow of ideas or do you sometimes find it
Eulberg: Like everybody else I sometimes have no fun or ideas to make music, we are no machines. Than I have to find some inspirations. I switch out my mobilephone and go for a walk through the woods or the meadows in front of my studio. Espacially on Monday after a hard weekend I'm usually not much motivated and better go into a sauna or something like this, which helps you to refill your batterys. In January it took one month off, no Djing so I can relax a bit and have more time in the studio.
ministry of sound: Much has been said about your affinity with nature and how this effects your work, do you have a method of bringing elements of nature into
Eulberg: On the one hand I sometimes use sounds from animals which I recorded. Either you can identify them directly like in my remix for Dirt Crew “Largo” or you can just hear them when you know it, like in my remix for Pier Buccis “L'nuit” there is a frog singing all the time, but a lot of animals sound like a synthesizer or better the other way around. For example you have to compare a frogcroaking to a 303. One the other hand nature is my main inspiration source, I very often try to paint acustical pictures, to make the soundtrack to a special feeling when I was outside. My music is rich of details and surprises, like when you are rambilng, you never now whats arround the next corner.
ministry of sound: What else influences your work?
Eulberg: Of course there always very innovative young producers who inspire me and on the weekends I also get of course a lot of musical input. But also my friends are influencing my, espacially Gabriel Ananda. We are phoning every second day and we meet one time in the week to speak about music, technic, life, astronomy and nature till the morning light. I'm really glad to have him because we can exchange our knowledge about music and everything.
milk magazine: What has it been like working with Cocoon and playing places like
Amnesia this summer? Any other highlights?
Eulberg: For my it was a big honor to release an album of the label of my former times idol Sven Väth. He was the person who brought me to techno music in the beginning of the 90s. I was growing up in a very rural region and the first contact with electronic music was Svens radio show ”HR3 Clubnight”. I'm really happy with Cocoon in any way, I can work very free with no prssure and I have a very friendly releationship to them. Amnesia is always a great atmosphere, very enthusiastic. I enjoyed a lot all the festivals, there I always feel the most comfortable.