You know how every House- and Techno-DJ is raving about the passion for the music. Sounds good in the first place, but when you look closer, it mostly comes down to spinning mediocre Techhouse-standards all day every day in the living room and throwing some pills on weekends, being stuck in a weekly party-routine and gradually losing grip on style and ideas and creativity and life itself. Reznik knows about this kind, it lives next door to his place. Keeping in mind how annoying a continuous pumped up, Altbau-wall-filtered 4/4-Bassdrum can be (did anybody say torture?), you can imagine how strong HIS passion for House and Techno must be.
And it’s not only strong, it’s elaborate and diverse at the same time. (Quite fittingly, writing about music and culture in general is his main occupation.) You can be sure, that he holds a Kevin Saunderson record as dear as a Bauhaus-, Human League- or John Coltrane-record. Grown up with Metal, Punk and Hardcore, he soon discovered the thrills of exploring new territories rather than embracing the familiar ones to its entirety. He began collecting Postpunk-records, got interested in Rap and Soul and Popmusic, found inspiration in early minimalists, in experimental music, in Drone and Noise, got into Old School-Electro and vintage Disco-Sounds and at some point realized the, in both ways, emotionally and physically moving potential of Techno- and Housemusic.
Recently Reznik found some like-minded comrades-in-arms with the keinemusik-clique. Until now he successfully avoided to produce anything that is genuinely his own work, but who knows how long he will live up to this refusal. Right now, his DJ-sets speak for themselves anyway. They can be deep, they can be accessible, they can be hard, but they are always classy.