Releasing a collection of tracks that feels genuinely unique in today’s electronic music scene is no small feat, but Self Sufficient, the new EP from Himbrecht, achieves exactly that. Out now on David Hohme’s Where the Heart Is Records, this three-track offering blends melodic techno with avant-garde experimentation, showcasing Himbrecht’s dedication to pushing the boundaries of his sound. Each track—carefully refined over months—demonstrates a balance of emotional depth and intricate sound design, drawing listeners into a world where melody and innovation coexist seamlessly.
In this interview, Himbrecht shares the journey behind Self Sufficient, reflecting on the influences that shaped his sound and the process of bringing these tracks to life. From early inspirations like Vangelis and Timbaland to contemporary icons such as Stimming and Kollektiv Turmstrasse, his creative palette is as diverse as it is fascinating. Yet, as Himbrecht emphasizes, crafting music that resonates isn’t just about influences—it’s about staying authentic. In his words, “It’s better to find your own thing rather than copying others, especially for your ego as an artist.”
Beyond the EP, Himbrecht discusses the broader challenges of being a producer today, including the balancing act between creativity and promotion, and shares his thoughts on the future of electronic music. Whether you’re here to explore his creative insights or to delve into the nuances of Self Sufficient, this conversation offers a glimpse into the mind of an artist committed to leaving a lasting impression through originality and passion.
Who are the artists or sounds that most shaped your style early on?
I was listening to a plethora of genres when I first started making music, but hip hop and electronic music were always a constant. What really sealed the deal for me was hearing music by Stimming, Robert Babicz or Kollektiv Turmstrasse circa 2007-2008, I’m still fascinated by their sound and how they matured.
There are also the early childhood influences by acts like Vangelis, Jean Michel Jarre (Oxygène II forever), as well as hip hop producers like Scott Storch, early Kanye 🙂 and Timbaland.
Why do you think it’s important for artists to focus on developing their own sound rather than chasing trends?
I saw this happen more than once, artists emulating sounds and chasing trends then finding themselves without an identity all of a sudden. Trends tend to shift and if you don’t capitalise properly you might fall behind. I’m definitely not one to talk in terms of marketing or trends but I think that in the long run it’s better to find your own thing rather than copying others’, especially for your ego as an artist.
How do you know when a track is finished?
I don’t really, take my Self Sufficient EP for example: I started the title track in April 2024 and finished it in September which is very uncharacteristic of me. Same for Whatever and Ever, it started out as an idea in February but went through three or four bassline versions that drastically changed the track, the final version was ready in September also.
It was usually 3-4 years per track for me which is mad if I think about it now, I’m trying to be more spontaneous and focus on what a track feels like rather than how it sounds.
What do you think makes an artist’s music stand out in today’s crowded music industry?
Sound selection is key lately. It’s getting harder and harder to come up with something radical in terms of rhythm or groove, so I think a lot of the “truly special” music that came out lately focused on killer samples/sounds and vibes in general. I don’t find it as important to have an expertly mixed and mastered track to smash it in the charts, especially since it’s very easy to have a clean, clinical tune – overengineering music can kill its magic.
Where do you think the future of electronic music is heading?
Not sure to be honest. Lately I’ve been thinking about how techno in the 2000s (for example) sounded new and intriguing, it was often referred to as music from the future. Electronic music has definitely evolved and grew up to include many genres but some of the essence was lost. Not to sound like an angry old man but you definitely have to dig more to find forward thinking music so platforms that actually curate good music instead of turning into promotion tools are the future, I reckon.
What’s the one thing you wish people knew about the challenges of being a producer today?
Promotion. The music has to be good and that’s a given but the hoops you have to jump through just to get your music heard by someone are too much of a hassle for me. I found myself more than once being stuck creatively just because I had to think of the promo campaign I have to run for the release, so anyone who wants to get involved with music production should try to find a way where maybe friends can help with social media and promotion. That will allow them to focus on actual music making. Also do it for the music, it’s better that way. 🙂
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