UES:Â Your production is quite different than your taste in music when you dj. Is there a special reason for that?
Delta Funktionen:Â Ha, Iâve had this question before and actually, I think it doesnât differ that much. Iâve been making all sorts of techno, from deep and dubby to more banging dancefloor things, but I also made some
electro and house stuff. The thing that binds it, is that I like it when tracks show some reference to the
more oldschool way of producing. That goes for my own music, as well as the stuff I play out.  For my next project, Wasteland, I switched to only outboard gear. A drumcomputer, a few synthesizers  and some fx. Very basic and with a lot of limitations, but a fun way to work around with. Now this  project is finished, I will change the setup again. It keeps things fresh and interesting for me. For the listener it might be a bit confusing, because my sound constantly changes a bit and people never really know what to expect. But I donât give a fuck about that. If you constantly repeat your trick, it just gets extremely boring.
UES:Â Your music came to prominence during the uprise of the Berlin techno wave. Are you in any way influenced by it or has it just come to pass?
Delta Funktionen:Â That was basically a bit of a coincidence and it happened more or less around the same time. I think it was a reaction to the general, minimal, sound going on by that time. I was pretty fed up with what was being played in the clubs at that time. I come from the wave of more English techno, combined with the Detroit and Chicago stuff. That completely disappeared when the minimal hype was going crazy. IÂ lost interest in going out, but instead of complaining, I just made some tracks myself and I guess it fitted with what was going on in Berlin at that time. Guys like Dettmann also had references to the more oldschool sound. Except for Basic Channel/Maurizio and that whole legacy, German techno is not so much of an influence to me. However, I wonât deny their ability to change the landscape sound wise. Theyâre very good at that, but very often, I find German techno just not so sexy.
UES: What were the circumstances in your life which led you to starting a music career?
Delta Funktionen: When I was a teenager, I was making beats for fun. Some simple software and not thinking about releasing or whatever. It was just a way of creating my own place and fantasies by sculpting sounds. I had no musical background, so it was all pretty rhythm based, combined with weird soundscapes. When I was in my early 20âs, I met two Dutch producers: Damian Keane and Dave Miller. They had their own label called Audiosculpture and were also playing at the Awakenings parties in The Netherlands. Together we had quite a lot of studio sessions and they teached me a lot about production techniques and how to become more professional. Next to that, I was working in a second hand record shop called Deeptrax. We’re specialized in rare Detroit and Chicago stuff. Basically all the money I earned there, went back into the shop (laughs). What I learned there is still the backbone of my dj-sets. After my first solo release, I got a lot of booking requests and all of a sudden it became my profession.
UES:Â Was your primary focus Djing or production in the beginning? Did one lead to the other?
Delta Funktionen: I was never a DJ. Some friends from high-school were into it, so I sometimes practiced at their places, but I never took a serious shot at it. I rather made my own tracks. That changed when I moved to Leeuwarden and found out about some record shops and I just started buying records. Not with any intention to become a DJ, but just collecting the stuff I liked. I sometimes made mixes on my computer with some simple software, so I got to know the basics of pitching. Later on I switched to Ableton (version 4 it was) and started mixing with it in a local pub. We had our own night, on a Wednesday, and thatâs where I ruined my studies. Still, the DJ-ing was more a fun thing for me. But that changed after my first release. So yes, there were some links before, but the production ultimately led to the DJâing.
UES:Â You are known as a vinyl aficionado. What are the reasons behind staying loyal to vinyl?
Delta Funktionen: Itâs just my preferred way of playing music. Just last weekend I played some music from USB and I find it a bit boring. Itâs not as interactive as playing with vinyl. And Iâm more a visual guy and with USB/digital, you need to know all the artist names and tracks. Iâm more like the âB2 of that red one on that label from the USâ. Soundwise itâs also still quite a big difference. But well, that discussion gets a bit boring. I just prefer vinyl, thatâs it.
UES: How did Radio Matrix come to pass? Did the label always exist in your mind as a part of your career progression or did the decision come more spontaneously?
Delta Funktionen: It was always my intention to have my own label. Itâs about creating your own planet with likeminded producers. It took quite some time before I realized it, but I just wanted to have some material ready, from myself, but also from friends, in order to set out a direction sound wise. It is nice that I now can
contribute something more constructively and help out other producers to get their work out there.
UES: You are no stranger to Croatia. How would you describe your experiences here?
Delta Funktionen: A creative chaos!
https://www.youtube.com/watch?v=J6mX3vFb1s8
