Beyond the sound. Beyond the image. The human behind the noise.
For this edition of THE HUMAN BEHIND THE NOISE, we step into the world of BØCHKAVALLERIE, a DJ from Frankfurt whose approach is built around discipline, instinct and an obsessive attention to how a set moves from beginning to end.
After almost a decade of listening to techno, he started mixing himself in late 2022. What began partly as a way of creating sets for his own training sessions quickly developed into a much deeper practice shaped by perfectionism, experimentation and countless hours behind the decks.
We talked about the connection between sport and discipline, constructing sets as complete journeys, his changing relationship with nightlife, late-night creativity, resisting genre formulas and why, ultimately, he wants the music to stand on its own.
Before we talk about music, who is the person behind BØCHKAVALLERIE? What experiences have shaped who you are today?
I would say that listening to music in general was what initially got me into it. And since I’m a very hyperactive person, simply listening was never enough for me.
You listened to techno for almost a decade before you started mixing yourself in late 2022. What finally made you step behind the decks instead of remaining a listener?
Because I hated constantly having to create playlists, and I absolutely love listening to full DJ sets, especially when I’m working out. So I wanted to learn how to do it myself, allowing me to record sets specifically for my training sessions.
You’ve described spending almost two hours a day practising your craft. Where does that level of discipline come from, and what were you searching for during those countless hours behind the decks?
The discipline definitely comes from sports. I work out a lot and I’m generally a perfectionist, so it was only a matter of time before that mindset carried over into music production and DJing. I want every set to be absolutely perfect for me, which is why creating and preparing them takes so much time.
You’ve said that you try to tell a unique story and create a distinct atmosphere with every set. How much of a set is carefully constructed beforehand, and how much still comes from instinct in the moment?
Creating and preparing sets is by far the most time-consuming part of the entire process. I want every track to work perfectly with the next one, including the samples I use. The actual mixing, however, is usually something I do by feel.
HAMMAHALLE 122 by BØCHKAVALLERIE
Alongside this conversation, BØCHKAVALLERIE takes over HAMMAHALLE 122 with a four-deck session built around pressure, groove and constantly shifting layers.
The set was recorded using a Xone:PX5, two Traktor X1 controllers and a Traktor F1, with four additional samples worked into the mix.
Listen to HAMMAHALLE 122 on SoundCloud:
Your sets combine raw industrial pressure and deep kicks with melodic elements. What draws you to that contrast between physical force and emotion?
Combining hard kicks with melodic elements without losing the groove is essentially my main goal. However, lately I’ve been using fewer and fewer melodic elements and focusing more on maintaining the groove throughout the entire set without breaking its flow.
Frankfurt has one of Germany’s longest electronic music histories. Has growing up around that environment influenced you, or do you feel your musical identity developed largely outside the city’s traditions?
My biggest influence was my best friend PÂNDÆMØNIUM, along with my SoundCloud algorithm and, of course, all the music I listen to while working out.
Your posts suggest that physical training and discipline have become an important part of your life. Was there a turning point behind that change, and has it affected the way you approach music, nightlife and yourself?
Honestly, the main reason behind the change was a change of environment. This has also resulted in me rarely going to clubs unless I’m playing myself, at least here in Germany, because the German music scene no longer aligns with what I’m looking for.
You once mentioned being especially creative at night and even recording a planned set around 4 a.m. What happens creatively at night that doesn’t happen for you during the day?
I’m not entirely sure, but I think a lot of people can relate to being at their most creative late at night, when they’re actually supposed to be sleeping.
Bochka and raw industrial sounds have become increasingly recognisable and formulaic in parts of the scene. How do you keep BØCHKAVALLERIE from becoming defined by a genre formula or current trend?
Mostly by experimenting with new things and, above all, always doing whatever I feel like doing and enjoy the most.
Imagine someone hears one of your sets years from now without knowing anything about you. What would you want them to understand about the human being behind all that pressure and noise?
No, I want people to judge the music for what it is, rather than judging the person behind it. In my eyes, musical creations are art.
THE HUMAN BEHIND THE NOISE is an ongoing interview series by EXIT7 RECORDS, exploring the people, experiences and perspectives behind uncompromising sounds.
