Born in Germany, Alex Bau belongs to the key figures in the techno music scene and he is considered as a symbol for a whole generation of ravers. His career began in the early 90’s and he has performed all over the world in iconic venues and festivals. His discography counts numerous releases on significant labels such as CLR, Cocoon Recordings, Predicaments, Default Recordings, Sino to mention but a few. He built up a notable reputation thanks to his sense of detail behind the decks and his “Bau sound”, recognizable and highly effective for the dancefloor. Alex Bau’s career is clearly dedicated to evolving the techno movement. In 2007, he launched his own imprint CREDO and co-founded the DBH Music Distribution GmbH. From his studio, he shares his perception of the scene and the record industry; he speaks about his label and his “Last Album On Earth”, his dub techno project “STOERUNG”, his connections with Croatia and his 30+ year’s celebration of Djing at Magazin Club among others. 

Welcome, a glass of?
Spezi.

Where do you come from? 
I was born in northern Bavaria and moved to the Munich area during my late childhood, early youth. Meanwhile, living more countryside close to the Chiemsee, a beautiful lake close to the alps, is actually a kind of holiday region here in southern Bavaria.

Who are your main influences?
Hm, too many to name them all, but definitely a lot of 80’s pop music and electronic music, but rather from the darker side like wave, new wave than they stereotype definition of “early electronics”. I like music from bands like Tears for Fears, Depeche Mode etc., when it comes to techno, I definitely have to name Sven (Väth) as a big influence for me.

Do you remember your first approach to Djing?
I was asked to dj at a school party simply because I was the one with the most records at home. That was back in 1992.

What prompted you to become a producer?
Curiosity! I stumbled into producing via a friend of mine back then, Sven Dedek, who was a real analogue nerd back then. We spent hours and hours together in his studio and it resulted in some early productions (under several projects as “Basic Implant”, “Electric Envoy”, Editor’s Notes). Later on, when digital production took over, maybe around 1999 / 2000 / 2001 (at least for me personally), I produced more and more on my own, though still benefiting from the knowledge I gathered while producing with Sven before.

Your favourite equipment in your prod-studio? 
For years I've been working digitally meanwhile and I really love the workflow. I never was attached to analogue equipment. I always liked the idea of having everything available just a few clicks away. And even back in the early-mid 2000’s the sound quality was top notch - if you use the right programs and plugins... All the rest is my secret. 

What about your own label CREDO?
Well, CREDO was my very own little baby in the beginning. I produced an album called “CREDO” for the Zenit label back then, but the guy who ran the label crashed the label. I never saw any money for my productions, so I simply continued with CREDO as my own label back in 2007. Years later I opened the label also for other artists and we had a really busy period actually until the beginning of the pandemic. Nowadays, with the recent perception of “techno” I’d rather stay a bit limited and it just felt right to pause the label kind of.

Regarding your last release on CREDO, why did you name it “Last Album On Earth”?
It will definitely be my last long play album. Especially inside the dance music industry, there is no acceptance and appreciation for formats like this. I did five full length albums throughout the years. It was great to create a kind of legacy for me artistically, but with Spotify & Co. aiming for drops and action every 30 seconds… How can you express an artistic vision these days? Almost impossible, at least for me.

You seem to be really connected to Central Europe. Could you tell us more about your “Hype” Ep on Room 307 Records and your “Alias” Ep on Konekt Croatia please?
The Room 307 label just convinced me with its very detailed and defined approach on what they want to release and I was happy to find a platform for one of the hardest tracks I probably ever released. The work for Konekt Croatia is a rather heart-warming thing. The label donates all earnings to charity projects in its home region Istria, like supporting homeless people or old, financially struggling people. Even if it's just a small contribution, as long as some food is provided to people who are in danger of starving, it's a great satisfying feeling to be able to help. Try it on your own.

For you, what does Cocoon Recordings represent today? 
It’s a very high-quality professional label with outstanding music and I’m happy I was able to contribute quite some productions to their catalogue throughout the years. I was part of their famous vinyl-box sets, “Dots and Pearls”, appeared on Sven’s mix-compilation and also released some Ep stuff there. Very proud of being part of it!

You recently released “Sounth One” under STOERUNG on DUBWAX, a division of RAWAX. Could you tell us more about this alias? 
This is a side project I started for my dub techno productions. A style I really admire from the early 90's onwards. Basic Channel was one of my biggest influences and a kind of “aha“-Effect for me. The perfect definition of how techno should sound like. Dub techno for me is the soul of underground techno, like an origin.

A quality track in 3 words? 
Puhhh… Phylyps Trak II [Basic Channel], 1994

You are a strong defender of the vinyl culture, what does vinyl represent for you? 
Well, even though I was fascinated by modern Djing-technology and toured the world with my digital setup, my love for vinyl never faded and right now it just feels so right to play vinyl only again, especially in these superficial, high-pace times. The sound, the touch, the handling, simply everything is magic in terms of vinyl. This medium values music in a very basic and real way. And beside this it’s far sexier than collecting MP3s.

As the co-founder of DBH Music GmbH, how do you perceive the changes in the records industry over the last 20 years?
Well, even though the vinyl market is stable, it became more and more difficult for labels to sell sufficient figures with vinyl. Decreasing numbers of vinyl dj’s, increasing numbers of vinyl releases surprisingly. Not hard to see how difficult this can be for labels, however we at DBH try to keep it up for artists and labels to be able to do their art.

For you, what is the main rule of Techno?
Techno is without singing

What is the project with Solid Rush?
Well, that’s a gig coming up in Eastern Germany for a crew that runs its venue with full dedication and passion for years. It's really underground, very authentic, they appreciate Dj’s who play vinyl and I’m sure it will be a great night for everyone!

What revolts you about the current scene?
DVS1 recently spoke some true words: what’s being “sold” and perceived as “techno” isn’t techno actually. It’s closer to the principle and idea of EDM as to real techno. I always call it TikTokTekno, cheap, annoying sounds, predictable music produced for the streaming market with no soul. Not my cup of tea.

What effects are you looking for on the audience?
Every Dj looks for the crowd getting into the music being played with full dedication and trust in the skills of the Dj. Once the bond is set, everything can happen. And this is where the magic starts.

Any ritual before a performance?
I always try to “read” the crowd before my sets and I decide on the first three tracks to play and in which order. This helps to gain and reflect and build confidence of the crowd. You need to make the people trust you if you want them to follow.

I’ve seen on your channel CREDO.TV that in 2023, you celebrated your 30 yrs Djing at silo1. What do you like at Magazin Club? 
It was a memorable night! I tried to squeeze in as many of my personal techno classics as possible and the crowd showed so much love and will to take it to the max that night, truly one of the best nights I ever had behind the decks. And the setting at Magazin is just perfect plus it’s the follow up of my activities at the Silo1 which was my home base in terms of techno from 2000 onwards. 

Could you describe the “Rave Series”? 
That was a little sidestep to my origins and with my 30 years djing anniversary coming up I thought It’s a nice idea to get back to where I came from, also productionwise.

In 3 words, what does “real rave” mean to you?
Warehouse, Bass, Fog & Strobes... shit, four words (laughs)

What are the main privileges you have with Djing? 
To play the music you love on a loud sound system and make people smile with what you love.

What are the main difficulties for a vinyl-only Dj today? 
The same issues as also 30+ years ago: shaking tables, hopping needles, vibrations...

What comes to your mind when I say AI?
That’s a different book we have to open. Maybe I’m too old for it, but I think risks one day will exceed benefits. Time will tell.

If you could teleport yourself for a few hours…
Early 1980’s UK when the greatest musical decade took shape.

808 or 909? 
What a question… both!

Your favourite colour?
Let's wear black until there’s a darker colour!

Credo.White in 3 words? 
In Dub we trust. Again, four words, sorry!

Credo.Black Series in 3 words? 
In Black as well. And again...

Remixes or Repaints?
Repaints because they are next level.

Any helpful advice for the next generation of Dj-producers?
Don’t copy. Create. And risk something!

You are considered as one of the most respected names in the techno scene. What makes you proud of you today? 
I always stayed true to my soul and myself, never hopped on the trend-train. I think this is the thing I'm most proud of artistically.

One of your tracks that best represents you today?
“Wise Men Say” (from the “Last Album On Earth”, Editor's notes).

Your projects for 2025? 
I’ll try to keep the flow and focus.

Any performances in France this year? 
Nothing planned yet, but it would be great to come back to France. Nice memories, no matter where I played in France. The nice thing is that French ravers always scream “Allez, Allez” which sounds a bit like “Alex, Alex”. (laughs).

Finally, If I tell you “Connected”?
My first album (on Toneman, a label he has been running from 2000 to 2006, Editor’s Notes). My first milestone. By the way, still available as CD on my Bandcamp.

Interviewed by Sabrina Bouzidi / Picture header by Indivisualists.