Expanding Sound and Scope
It’s been over two years since Dekmantel released Aquarian’s Mutations, a collection of club tracks crafted from a perfectly puzzling blend of techno, IDM, electro, DnB, hi-tek jazz, breaks and hardcore. Aquarian’s double EP was the 12th and last release on UFO, the Dekmantel Records sub-label known for spotlighting techno heavyweights like Peter Van Hoesen, Anthony Parasole and Randomer, as well as new-school experimentalists such as Identified Patient and Parrish Smith.
Words by Leendert Sonnevelt
A sonic reflection of Dekmantel Festival’s UFO stages—both the big techno hangar and its smaller, tunnel-shaped sibling—the original series ran from 2016 to 2022, showcasing some of Dekmantel’s most forward techno and techno-adjacent sounds while mapping out uncharted, somewhat chaotic and genre-crossing territories. So, why the nostalgic trip? First, because I—and probably many others—have been waiting for UFO13. And second, because the wait is over!
As the UFO sub-label officially returns today with brand new releases by Wata Igarashi (the Japanese techno virtuoso who set Dekmantel Ten ablaze last summer) and Piezo (the club wizard whose sound I’ve been trying to wrap my head around since seeing him at Selectors ’24), I caught label manager Olf van Elden for a proper UFO update and, of course, a sneak peek at what’s coming next.
UFO is a series under the Dekmantel label that’s been around since 2016. It focuses on the sound of the UFO I and II stages—harder, darker, and more experimental. Since we feature a lot of that sound at the festival, it makes sense to keep supporting it through the label. UFO has been inactive for a few years, since 2022, and its identity could use an update. So, we decided to relaunch it with a new logo and visuals.
The last UFO release was Mutations by Aquarian, more than two years ago. Before that, we had releases from Identified Patient, Parrish Smith, Peter Van Hoesen, Randomer, Voiski and many others. Now, we’d like to broaden the scope a bit, leaning more towards UFO II’s direction. For example, we’re doing this great release with Piezo…
Well, we’re actually kicking things off simultaneously with Wata Igarashi and Piezo. After that comes Broken English Club with an album, followed by Quelza, whose release is more broken in style. With the Dekmantel Ten box set, released last summer, we already included two UFO records—one more experimental than the other. We want to keep building on that momentum.
"Now, we’d like to broaden the scope a bit, leaning more towards UFO II’s direction—not just straightforward techno."
Yes, we asked artist/designer Jonathan Castro to create an entirely new identity for it. His experimental style fits the UFO sound perfectly, in my opinion. We’re also using a colour palette that’s different from Dekmantel’s usual aesthetic. It’s going to be really exciting.
You can call it a series or a sub-label—that doesn’t really matter. Officially, it’s still part of the Dekmantel label. This setup just allows us to release more music that aligns with Dekmantel in all its shades and subtleties. By dividing things this way, we can introduce some differentiation while continuing to release techno and house, along with many other club genres. You know, we cover everything from Palms Trax to Wata Igarashi. Both sides of Dekmantel are equally important to us—and they can coexist harmoniously.
Yes, it was almost impossible to approach it any other way because the spectrum is so broad and varied. The intent wasn’t to create a unified sound, but to create a box that offers an insight into the sound and artists Dekmantel Festival has presented in the past and will present in the future. Someone commented that “everything flows together so beautifully.” That wasn’t our goal at all, actually, but it’s funny to hear that perspective.
Exactly, it’s very diverse. If you have someone pounding out techno in the UFO and a live band playing in the Greenhouse, it’s tough to find a connecting thread—but maybe it doesn’t need one.
The idea is definitely for the label and festival to complement each other. For instance, we might work on an exciting project with an artist and then talk to the programmers about how to bring it to life at the festival. Right now, we have planned a few really exciting albums for 2025 on Dekmantel Records. It’s interesting to translate these projects to the festival as well.
"It’s great that all these sounds can coexist without fitting into the same genre."
I think the sound of UFO I is pretty well-defined. UFO II’s thread is more diverse, which is what makes it interesting. It’s great that all these sounds can coexist without fitting into the same genre.
Heavy, dark, and experimental—but still very much club music. It connects with UFO I, but it’s less straightforward.
Wata's tracks [UFO14] are proper techno, with his signature sound of heavy arpeggios and trippy, intense melodies. He's created four tracks, one of which is more breaky and another leaning towards acid, but they all align with his usual style. Piezo's tracks [UFO13] are fast —think somewhere around 140-145 bpm, very club-focused and breaky. What's unique about his music is that it's intense and heavy but also has this super dreamy undertone. Piezo is just an incredible artist, besides being an extremely skilled producer he is also a very adventurous DJ. Basically, he has it all.
Listen and pre-order 'Kaleidoscopic' and 'Ecstatic Nostalgia' below.