Welcome to the final edition of the Midgar Records takeover. Celebrating its 10th anniversary this year, the Berlin-based label took over our mix series for the entirety of September, showcasing work from some of the label’s closest affiliates including Aa Sudd, Tammo Hesselink and Keplrr. To round things off, we have label founder Severja contributing a mix that highlights his breadth of influences that are also channeled through Midgar Records output. The mix spans across drum & bass, wonked-out techno, trippy percussive rhythms and trance-like soundscapes. The session also ties in nicely with our 200th mix!
Founded in 2014, Severja launched Midgar Records as a label that leaves the trends behind and instead focuses on bringing together a melting pot of artists who are pushing music forward through their modern take on techno that showcases the soundscapes mentioned above. In the label’s bio on Soundcloud it says, ‘a sound that tells stories as people dance’. Launching on a very strong foot with the first release by Wata Igarashi, Midgar Records has since gone on to house records from the likes of Ruff Cherry, Von Grall, Forest Drive West, Retina.it, natural/electronic.system., Priori, Agonis, Tammo Hesselink, Polygonia, OK EG and many more. In addition to the releases, Severja has taken the label and its artists around the world with showcases in Krakow, Tokyo, Seoul, Berlin, Barcelona, Medellin, Oslo, and Milan to name a few.
To accompany the final mix in the takeover, we spoke to Severja about how it feels reaching the 10th anniversary of the label, how Midgar has evolved over the years, experiences bringing the label to club spaces, the story behind signing Wata Igarashi for the first record and the inspirations behind the label’s curation and art direction.
Hey Jacopo, thanks so much for taking the time to do this interview. We’re here to chat about the 10th anniversary of Midgar Records. Huge congratulations on reaching this milestone! How does it feel? What has this year meant to you so far?
Thank you! 10 years is LONG! Almost a third of my life dedicated to this. It definitely feels rewarding, especially as I’ve managed to live in Berlin in the meantime and stay sane. This year has been very well celebrated in so many ways (and so many times). I’ve had multiple birthday parties so can’t complain haha.
How has Midgar Records evolved over the last 10 years? And is this a reflection of your own personal evolution during that time as well? How much of your personal artistic narrative and life influences the record label?
The label had a lucky but not an easy start. I had the chance to work with Wata Igarashi at the beginning of his career for the debut release, and good things just followed up gradually. Loads of work and money were invested in the beginning, and records were not selling as fast, as the hyped labels of that time did. Imagine I started around the same time of Northern Electronics and Lobster Theremin! 2014 doesn’t seem so far away, but our music scene was incredibly different. I learned so much and the label reflected my growth, but I must say that some choices, style-wise, were made at the beginning. I think the label just gained more trust and people seem becoming more receptive and open to experimentation along the way. That gave me confidence to do more, expand the sound and put out music that I love. No other reasons.
What has been the biggest lesson you’ve learned so far through running the label?
Be kind but stand your ground when necessary. Don’t run after people because if things are meant to happen you will attract them with your worth.
What would you say is the record label’s main message and ethos? What is the narrative you are trying to tell through this platform?
Positive energy, and a lot of love for (what I think is) good music. I think ultimately that’s what I tried to express: different ideas and aspects of club music, delivered through the work of immense artists I was able to connect on the way.
The first record you released is by Wata Igarashi, an incredibly strong debut! How did this record come about?
I found Wata on the first and only record of Mariana Wax, a label of the late Dave Twomey, who was a British DJ and promoter based in Japan for many years, and throwing seminal events for the local deep techno community. Wata’s track Valve sounded like nothing else I heard till that moment. I immediately thought that when (and if, because it wasn’t in the plan yet) I will start a label, I want to work with this artist. A few months later, I reached out via Facebook and introduced myself and the project. Things moved quickly, Wata had done a bunch of new tracks exactly in that period. For a first release, the Junctions EP came out so good, I’m so grateful for it.
When an artist sends you a release to consider for the label, how much feedback and input do you give before deciding on the final iteration? Do you have a lot of feedback sessions with the artists you work with?
It depends on the artists. A great record requires patience from both sides. Some artists have difficulties in engaging with this process, as I understand it can be frustrating to hear suggestions about what to do with your art. Mutual respect is essential!
What do you look for in a creative relationship?
Friendship!
Did you have a list of artists in mind for Midgar before starting and how many of them have you ticked off so far? Any dream artists you’re still waiting to work with?
I can say I prepared a PDF where I put a few artists, and one of them was really pissed to see their name on the list hahaha because they felt I was trying to convince people I had something in my hands without even starting. It made me realise that I should just work with the ones I already know and avoid cold calls. Approaching artists just because of their music, without knowing the human behind, is tricky.
The world of Midgar is your vision from the artists you sign to the artwork you design. Where do you source inspiration for the label? What’s on the moodboard when it comes to the visual style?
It changes for every release because the artists who send me the music are usually (not always) giving me inspiration and moodboards. It’s a full collaboration!
Are there any specific influences outside of music that you look to and reference from for Midgar?
Mainly Anime/Mangas, videogames (early Playstation titles).
How do you know when something is a good idea?
If we talk about a good design or artwork, I admit that the best ideas are very obvious to recognise and what divides me from the final result is the length of execution. Each artwork has its own story and some of them took ages to be nailed down. But with the time passing, I think I’m looking more often for simpler solutions. I used to love spending hours drawing every small detail of a complex artwork! At the moment I’m trying to find new ways to represent a pre-existing aesthetic.
You also work with Monument Festival as a designer – has this experience fed into the work you do with Midgar and perhaps influence which artists you’d like to work with?
Thanks to Monument I’ve been able to meet and connect with so many new artists. I do work with many of them but as a promoter instead of label manager. So far at least! Things might change in the future.
How much does the people you work with and the places you visit influence your work? Are there any specific relationships or places you visit that you feel have had a lasting impact on your work?
It’s hard to narrow it down to a list, as inspiration comes to me unannounced. Some people have it on the toilet, in the shower or in bed before sleep. But jokes aside, I feel like my years at the university were extremely formative. I studied in a tiny public industrial design academy in Rome (2008 – 2011) and my professors were respected Italian designers who fed our brains with the best inputs. Also, I was lucky to be in class with some smart and dedicated people who taught me determination and love for good design.
What has your experience been like bringing Midgar to the event space through the label showcases? How does this add to the world of Midgar?
Every Midgar night has been a blast, I can’t hide how happy I am. I don’t mean that we’ve always had a 50 meters long queue (actually never) but musically, and the vibe, to my standards, it’s very good!
What is it that’s keeping you motivated to continue running the label?
I’ve said a few times in past interviews that Midgar is a lifetime project that I will bring on till I am alive. A bold statement that I’m reconsidering in my adult life. I do not intend to close Midgar any time soon but I also know that everything has a end, sooner or later. One thing is for sure, I will never compromise the quality of the label and let it slowly die. If one day I realise that I am not able to keep up the standards (for whatever reason is there) I will stop, when things are still looking great!
What’s on your vision board for Midgar right now?
On top of my list : co-curate events rather than invest all my money in organising them from scratch.
Maybe expand the clothing line of the label, moving from ‘merch’ status to a more established brand.
Also new records are on the way, of course! After OK EG’s upcoming record we’ll have Priori’s Pareidolia remixed!
Follow Severja and Midgar Records to keep up to date with the label. ‘Heatwave’ by OK EG will be out on the 15th October – pre-order here.