Legend Petter B is the headline of Wednesday’s Tarantism and we were lucky enough to get a hold of him for an interview:

You have a long history in the underground techno scene, tell us a little bit of how it started.

I approached music making for the first time when I was about 4 years old. Sitting down at my family’s electric organ. It had a rhythm section and autocomp features that I just sat and played with for hours on end. I never learned any songs, just explored sounds and patterns and how the mode of the sounds shifted when I pressed various buttons. It wasn’t until I discovered techno in its pure form that I found a place for that kind of musical interpretation. That’s kind of how I found home and got stuck into what some people refer to as the underground techno scene.

And considering your long career, what have been the most significant changes to the underground scene throughout the years?

Depending on how you look at it of course, I think the underground has more or less stayed the same all these years. Yes, tempo has shifted, influences change and the scene grows and contracts over time but the love and respect have stayed the same. The difference I think is that at certain points in time there seem to be more levels in-between mainstream and underground. Mainstream clubs and festivals trying to be underground with the result of forcing a new direction in music that could fit their will of selling underground to people that are more interested in the ”next big thing” rather than the culture that comes with it. When the love and respect is lost or other agendas take over, then it’s not underground anymore to me. When people claim that the underground is changing for the worse, or that the end is near, I think they’re confused and refer to that phenomena. The underground will never die as long as it stays true to the love of music and the respect for all humans, and that love and respect I experience is the same today as the first day I entered the underground.

You started the label Bond back in 2013, tell us a little about why you wanted to launch your own label?

I had a big need to put out what I believed in back then, not having to be directed by a label and fit their vision. It was a point in my career where I had tried many approaches to music except to be my own boss and to take full responsibility of my art. It was liberating and I learnt a lot about myself and I think it pushed my music in a good way. It also made me realise how good it is to work with other labels that connect and know their crowd and really put in the work it takes to give music the chance it needs to get attention these days.

 You’re part of Tarantism the 7th of November, what can we expect from your set?

I hope to be able to create some kind of hypnotic state on the dancefloor. I enjoy when the sounds I play start to become more than the sum of its parts, that a mix becomes more than the tracks it consists of. To me a mix between tracks is so much more than just a transition, it’s usually there I find I can lose myself and grab hold of the audience. It’s always a dance and never a solo thing for me, I have to connect with the audience in some way to be able to take off on a journey together.

And finally, please tip us of your favourite techno track of all time!

Wow, big one. Hard one. I could not possibly pick a track without regretting it 10 seconds later. But one track that I was so fascinated by back when I first heard it and still brings a smile to my face is Sven Väth-Breakthrough (Thomas Krome’s Breakthrough Mix). It will always have a special place in my heart, if it’s the best track ever, probably not, but it encapsulates so much of what I put into the definition of techno even today, some twenty years later.

Leyla Ekelund

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