Basti Grub: Letting the Music Do the Talking with "Therapy"
The German producer on thinking in songs rather than tracks, why aliases keep him creatively free, and what it actually takes for a label to earn a release.
Basti Grub has spent years moving across genres, labels and aliases — from Innervisions to Diynamic, from Cocoon to Hot Creations — always following what feels right rather than what fits neatly into a box. With "Therapy" on Bar 25 Music, he delivers a release built around vocals, groove and a pop instinct that runs deeper than it first appears. In this interview, he talks about finally finding the sound of Basti Grub, why he thinks more in songs than tracks, and how he knows a piece of music is worth finishing.
Q: You have released on Innervisions, Diynamic, Cocoon, Hot Creations, Crosstown Rebels and more. At this point in your career, what does a label actually need to offer you for a release to feel right?
A: Good question. For me, it's important to feel genuinely welcome at a label and to know that, first and foremost, it's about the music and not just my name. I want to feel that the label truly believes in the music and is excited to release it. When that enthusiasm is there on both sides, a release feels right to me.
Q: HOTDISC is a separate creative identity from Basti Grub. What lives under that name that wouldn't fit under your own, and how did it come about?
A: Musically, what we release as HOTDISC isn't actually that far removed from my own music. HOTDISC is mainly a collaborative project with Julian. We play live together or B2B, which creates a different kind of dynamic. So the project isn't really about making something completely different musically, but more about the energy we create together and the exchange between us.
Q: "Therapy" is described as a journey through deep grooves, emotional melodies and hypnotic energy, with dirty vocals and subtle pop touches. That last part is interesting — where does the pop instinct come from in your work?
A: I listen to a lot of different kinds of music, and I also produce across different genres. I think that pop influence developed quite naturally from that. At the same time, I actually find it difficult to make music completely without vocals. When I'm producing, I tend to think more in terms of songs rather than just tracks. Vocals are an important element for me because they can carry a story, an emotion, or capture a certain moment. That's also why I enjoy working with different voices and vocal styles.
Q: You prefer to let the music speak for itself. But when you do talk about it, how do you actually describe what you are trying to do in the studio?
A: I don't really try too much — I just do it. I produce whatever I like in that moment and whatever feels right to me. There's a lot of passion behind my music. In the studio, I don't want to be influenced too much by rules or expectations. If something connects with me emotionally and makes me want to listen to it again and again, then I know I'm on the right path.
Q: Dizzy Monroe's vocals are a central element of both tracks. How do you work with a vocalist — do you give them direction, or do you follow where they go?
A: It really depends on the song. Sometimes I already have a very clear idea in mind and approach a singer with that specific direction. With other songs, we simply get together for a session and see where it takes us. I'm very open when it comes to that. Sometimes the most interesting things happen when you don't plan everything in advance.
Q: You have been building your catalogue for a long time across very different labels and sounds. Is there a thread you can point to that connects all of it, or does each project feel like its own thing?
A: Throughout my career, I've changed genres several times and produced many different sounds. On the one hand, simply because I enjoy making different kinds of music and experimenting with new things. On the other hand, it was also an important part of the process of finding my own sound. By now, I feel like I've found the sound of Basti Grub, and that's a direction I want to follow consistently from here. I'm still interested in other genres and musical ideas, and I'll definitely continue producing them, but I now keep them separate and release them under different aliases. That way, each project can have its own identity without me having to limit myself creatively.
Q: The electronic music scene has changed a lot since you started. How do you see the new generation of artists coming through, and is there anyone whose work you are paying attention to right now?
A: I find the evolution of the scene really exciting. The possibilities for producing and releasing music have changed dramatically. From a technical point of view, it has become much easier to make music, which of course also means there is an incredible amount of new music being released. But in the end, I believe that quality and a strong individual identity will always stand out. I follow a lot of different artists, producers, and bands. I wouldn't want to limit it to one particular name or genre because I find inspiration in so many different places.
Q: What is a record from any genre that changed how you think about what music can do?
A: For me, it's impossible to narrow it down to just one track or album. Over the years, so many artists have changed the way I think about music — from Daft Punk and The Prodigy to Aphex Twin, Michael Jackson, and many more. Each of them showed me, in a different way, what is possible with music. I could probably make a very long list here.
Q: What is next for you after this release?
A: There's a lot coming. I'm currently working on some really exciting collaborations, and I also have upcoming releases with some bigger labels that I can't say too much about just yet. And, of course, there are my albums, which will also be coming soon. So there's a lot of new music on the way, and I'm really looking forward to gradually sharing everything I've been working on.
