Alex.Do captures for example the vibes of different cities, different emotions, 90’s techno and in some cases even German sci-fi into his music productions and precisely curated DJ-sets. Starting off the year with a relaxed vibe, Alex releases no less than three EP’s the coming year, one of them with his home label Dystopian.

Monument got the chance to meet the Berlin-born producer before his hyped set at Monument x Techno Inferno party in Stockholm, and found out how was Alex’s first Berghain visit, how he sees the city’s current club scene and what are the stories behind his three coming releases.

Hi Alex, and welcome to Stockholm! Lets start big: Can you share one life-changing music memory of yours?

Hi! Going to Berghain for the first time was a really big moment for me. It was year 2008, and I had just turned 18, the bouncers were thinking if I’m too young, but I got in anyway. I saw the place, the crazy energy there, all of that is still burned on my mind – I was like, what the fuck is this place? I decided I wanted to be a part of it, and started coming regularly. Then, a natural domino effect happened, I started meeting people, and it all continued. I played in Berghain four years later, in 2012.

The night was actually a special night in Berghain, too, as it was the beginnings of a big dubstep movement. It was the very first Substance party, with Scuba playing downstairs.

Dystopian describes you as an artist whose moods characterise your music. Tell us more.

For me, music-wise, it is not possible to go only one direction. I have to take different directions, go into depths more, in order to tell a story. And what it comes to my personality, well, no one has the same mood every day. One day you are tired, one day you are sad, one day you are super energetic, you know… Currently I feel relaxed, full of energy and having new ideas.

How is your setup during your gigs and in your studio?

My gig setup is really simple – I just use a mixer and three CDJ’s. Then I have a huge analogue studio, yet I would never say one can only make good music with the real synths. I am aware that people can do amazing stuff with a Macbook only, it is very impressive what virtual studio technologies can do these days. I just like my analogue setup.

You have recently released a remix of Mind Against’s track Cloud Nine with Afterlife Records. Besides that, you have three EP’s coming this year. Let’s start with the first one, Dusted EP, coming out with Fuse Records on April 13th. What is the story behind it?

When I wrote the four tracks for this EP, I had the weird, dusted, slightly distorted 90’s techno on my mind, Jay Denham and those kind of guys. So, the techno from around 1995-1999 is the influence on this release. I’m kind of a resident at Fuse, and last year I played there for quite a lot of times. The guys asked if I wanted to contribute to their label, and Dusted EP will mark as their fourth release.

The following release, coming out in June, will be your third EP with Dystopian. Your track Concrete, with a nice space techno vibe, was released in 2013 with Dystopian. How have you developed as a producer when comparing your first and the coming release?

I was just recently looking back at the Concrete project, and how I worked back then. That time I had only one synthesiser, now I have, well, a plenty. I have learned a lot of new techniques, opened my music taste more, and in general I have more influencers now than then.

With Dystopian, we always try to find a theme, movie or a theory for each release. For the new one, I chose a Rainer Werner Fassbinder movie World on a Wire, that is actually the first German movie that counts as science fiction. This EP will be more dark and complex than the release with Fuse.

And finally, your third release will be out with Barnt’s Magazine label in autumn. You told us this release, in a way, is a result of a creative week in Cologne?

I met Barnt at a festival for while back and we got along very well, and met again in Berlin. At some point I asked if he wanted to make music together, and he invited me to his home in Cologne. I spent a week there, we made music and listened to each other’s tracks.

His partner, who is also a part of the label, heard the tracks and said that those will be Magazine’s next release. The tracks are disturbing, aggressive and totally fucked up distortion techno with vocals. I was not sure, if they would fit to the Magazine sound, but finally I said let’s do it.

I really love Barnt’s music even though it is really different from what I do. His style is more melodic, and it really touches a certain spot in me, in a way not a lot of music can. I have a huge respect for him. 

You have always lived in Berlin. How do you think the scene has changed from your first Berghain visit, in 2008, till today?

Almost everything has just become bigger.

The amount of possibilities really inspire me in Berlin. Every year more and more people bringing input to the city come to Berlin.

What has inspired you recently?

The past two years, fashion has really caught my attention. I am following brands like Vetements and Balenciaga, at the beginning I was annoyed, and thought it is just some overhyped shit.

But then I read more about the creative director Demna Gvasalia, got his point of view and started liking the brands. The same happened with Gosha Rubchinskiy, I saw his interview and really liked the way he wants to involve the Russian kids with his brand.

Besides fashion I love photography and architecture a lot.

When you go out, what do you do?

I don’t go out that much. I like to spend time with my friends, just have a good time without thinking about tomorrow. But every now and then I feel the need of going to a rave, go to Berghain and just stay there for 16 hours. I’m really spontaneous.

Any mixtapes, tracks or producers you would like to recommend?

I have always been really fascinated by the music of Etapp Kyle. Also, I have a lot of respect for Delroy Edwards and his label L.A. Club Resource or Helena Hauff’s label Return To Disorder.

Besides these, I really like the label Brenda and I think I got all their records. I am a huge fan of Barnt and Minilogue, especially Minilogue’s older stuff. And Mathew Jonson is a real legend.

Finally, is there something you want to say to Monument readers?

Enjoy life, people!