We catch up with Dad of the Year — a veteran of the underground, a true crate digger, and now the mind behind D.O.T.Y. Records. With more than two decades in the scene, from early dub techno explorations to launching a label dedicated to downtempo and boundary-pushing cuts, he reflects on a journey filled with reinvention, resilience, and an unshakeable love for music. We talk about Berlin’s shadow, emotional sound design, and why the dancefloor is still home, no matter the tempo.
Let’s start from the beginning. You’ve had a long-standing relationship with electronic music, from early involvement in the dub-techno scene to founding your own label. Can you tell us how your journey began and how it led to D.O.T.Y. Records?
Dad of the Year:
Hey Minimal Mag, thank you for having me! I have been in the music industry for about 25 years. Had an amazing run as a local DJ, played in some of the best after-hours in the world, playing with some of the bests around the world. I was promoting, doing my own events, was very involved in the underground community. I retired a first time in 2012, then I came back as a producer around 2019 with a new passion and inspiration. At this stage of my life, I gathered so much experience both inside and outside the club industry, that starting my own label became a no-brainer.
Launching a label is a bold move—especially in today’s saturated landscape. What vision or need did you see that pushed you to start D.O.T.Y. Records?
As a DJ, I was deeply committed to promoting forward-thinking music, bringing new sounds to my city, and always playing ahead of the curve. Crate digging is at the core of who I am—I’ve never lost that appetite for discovering the sounds of the future and bringing them into the present moment. With my label, I hope to reflect both my creativity and professionalism.
Your debut release, From Nowhere EP by Landhouse, and now your own There’s No Rule EP establish a clear identity. What connects these two releases and what defines the sonic direction of the label so far?
With this label, the goal is to explore every corner of downtempo, push boundaries, and bring out-of-the-box ideas to life. But it’s just as important to me that the music also offers options that cater to the dancefloor. Because ultimately, the dancefloor is my home.
The new EP features a remix by Thea & Schtu. How did that collaboration come about, and what do you look for in artists or remixers when curating your releases?
Oh, that’s easy—I’m just a fan. I approach them as such, and I know exactly who I want to work with. I don’t need to explain or give directions; they already understand. When I received the track from Thea & Schtu, it was so good it brought me to tears. I just feel incredibly privileged that these amazing artists have trusted me and joined the journey.
You’ve mentioned Berlin as a key influence in your sound. How has that city shaped your approach to production, DJing, and the label’s aesthetics?
Berlin has always been like a soul brother to me, deeply woven into my musical journey. In the late 2000s, I was immersed in the emerging dub techno sound, bringing artists like Alex Bau, Brian Sanhaji, Tommy Four Seven, Monoloc, and many more to North America for the first time. After stepping away from music for a while, I returned with a focus on downtempo—and once again, Berlin was there, with its incredible artists and labels. No matter the tempo, my sound has always carried a distinctly German influence.
Tell us about your approach to sound design and mastering. We know you’re meticulous when it comes to final mixes—what’s your process like from creation to final master?
Painful—ha ha. It’s a mix of joy and frustration. I push myself to the highest standards while trying to create a deep emotional moment for the listener. Sometimes I get there, often I don’t. And yeah, I’m the worst when it comes to mastering—I drive everyone crazy with how obsessive I am. Once, I sent the same track to 10 different mastering engineers just to prove a point. Luckily, I finally found someone who can handle me—Jeremy at Backward Clock Sound. I think he might be even more obsessive than I am—ha ha.
Being both a father and an artist, how do you balance family life with running a label and producing music? Does that duality influence your work creatively?
Not only that, but I also run my own company with 15+ employees—completely unrelated to music. I’ve always been a hard worker. At one point, I was a VFX supervisor on big movies while playing gigs on the weekends. It’s just the way I roll. Somehow, I manage to keep it all flowing.
Looking ahead, what can we expect from D.O.T.Y. Records in 2025? Are there upcoming artists or releases you’re particularly excited about?
Everything is exciting—so many great things coming up! In April, I have an amazing release from Eternal Moment with remixes by Nada and AmuAmu. After that, we’re fully booked until July with releases from Jøtum, Johnny Posh, and Bepo & Cornicabra. Plus, there are some events in the works for this spring. 2025 is shaping up to be a huge year!
Thank you!
— DAD OF THE YEAR