Robert Stahl.
Techno that stays with you.
From a second listen in Udine to old records and new possibilities for electronic culture in Carinthia.
Robert Stahl
A closed record shop led Robert Stahl to Zero Gravity in Udine. He wanted to hand the first techno records back; a second listen changed everything. The Villach DJ and producer talks to SCENE:ID about that moment, the lasting drive of old vinyl and the patience his own tracks sometimes need. He also shares what matters to him about nights in Villach and how people treat one another in Carinthia’s scene.
Robert Stahl is a techno DJ and producer from Villach, Carinthia. He shares original tracks and reworks on SoundCloud and Bandcamp. His work is also connected with Southbeat and decibel in Velden.
A second listen at Zero Gravity
On your SoundCloud profile, you describe how you more or less stumbled into the Zero Gravity record shop in Udine and discovered techno. What was it about the music that grabbed you back then?
“For anyone who would rather not read about where my passion for techno began on SoundCloud, here is the story:
I started DJing with vinyl when I was 15. As mentioned, I used to go to Udine almost every month to buy new records. At the time, I mainly played Italo-Dance by artists such as Gigi D’Agostino, Prezioso and Robert Miles.
On that particular day, the record shop we had planned to visit was closed. A friend said: ‘Since we’re here, let’s have a look in another shop.’ That is how we ended up at Zero Gravity. But there was hardly any music there that I knew. At first glance, none of it had anything to do with Italo-Dance. So I asked the shop assistant to pick out a few records for me. He put together a stack of about 30 to 40 records. After the first few tracks, all I could think was: ‘What is this music? I don’t know it; this isn’t for me.’
I handed the records back and told him that, unfortunately, this was not what I was looking for. His only reply was: ‘Please listen to them again.’
So I did. And suddenly I was hooked. Even now, I can hardly describe it. It was as though a bolt of lightning had rearranged my brain cells. I particularly remember a promo white label by Umek and DJ T-1000. From that moment on, this was the only sound for me.”
If I had to describe what fascinates me so much about techno, it would be the possibility of immersing yourself completely in the music. Together, the individual elements create a world of their own, where you can forget everything else for a moment.
Records that keep their drive
When you go through your records today, is there one that has been with you for a long time and still gives you something new when you play it?
That is a difficult question, because honestly, there is more than one. What still fascinates me about many of those records is their timelessness. You could easily play a lot of those tracks today without them sounding old.
When you dig through the old crates again after a long time, you keep discovering pieces that put a smile on your face. For me, that is often because those tracks have a particular drive and have lost none of their impact, even after many years.
Together, the individual elements create a world of their own, where you can forget everything else for a moment.
Two projects, then some distance
It is easy to get lost in the details when producing your own music. How do you know when an idea works musically and is worth pursuing?
It is very easy to get lost in the details when producing. At the same time, the way we work has changed a lot over the years. In the past, you might work on a track for three or four hours and it was finished. Today, production is much more detailed. Often, you work on the tiniest nuances, almost like a surgeon with a scalpel. That can quickly add up to 20 hours or more for a track.
As a rule, I never work on more than two projects at a time. Anything more than that throws me off. I always try to get a project as close to finished as possible and only make smaller adjustments afterwards.
If a track is not heading in the direction I want, I often leave it alone for a few months. If I listen to it again later and find a way back into it, I carry on working on it.
Villach nights that stay with you
Looking back at your own sets in Villach, which night has stayed with you in particular?
As the saying goes: if you still remember anything about the party the next day, it wasn’t a good one. No, joking aside.
There have been many nights in Villach that left a particular impression. Every year, the Kirchtag week stays with me, especially the Friday when wirFÖHNEN takes place on the main floor. Moments can happen there that have a very special atmosphere and stay with you for a long time.
One night that I remember for a rather different reason involved a burst pipe during an event. There were about five centimetres of water on the dance floor, and people still kept partying as though nothing had happened. For hygiene reasons, though, we had to end the night early, partly because the toilets could no longer be used properly.
There are plenty more stories I could tell. But basically, if the atmosphere is right, you can have a really good time in Villach.
More music, more respect
From your personal perspective, what would you like to hear or see more of in Carinthia’s electronic scene?
Definitely more electronic music and more opportunities to experience this culture. These days, though, a lot depends on money.
Another important issue for us as an association is creating a safe space. In the future, we want to pay even more attention to creating an environment where everyone feels comfortable and treats each other with respect. People who harass others or have a negative effect on the atmosphere have no place at these events.
If we can combine greater musical variety with respectful, open interaction, I see a lot of potential for Carinthia’s electronic scene.
Robert Stahl
Interview by email · Editorial and image art direction: SCENE:ID. Robert Stahl · courtesy of the artist · SCENE:ID colour treatment