Tobias.
Elektroniczna, Eksperymentalna | Tobias Freund’s process of learning his craft stretches back to 1980. Since then, he has been working as an engineer in the high-end studio of the German producer legend Frank Farian for many years, getting to know everything on the mixing desk you could tweak. Furthermore, he gathered more analogue hardware than others have plugins installed, and learned how to use it. When he felt he was ready to become an artist himself, he had many ideas in mind, thus his music made an impact right from the very start.
Transferring his overground work into underground output, his aliases since the early nineties read like an inventory of German electronic music: Metazone, Zoon, Phobia, and especially Pink Elln. Then he put the full stop behind his first name and started releasing tracks that refined the live approach to his broad variety of music between acid, ambient and techno to reduced but jacking grooves that displayed as much attention to detail as to floor impact and became an integral part of the defining sounds emanating from Germany to rule the clubs worldwide since the turn of the millennium.
He produced and remixed international stalwarts like Efdemin, Ellen Allien, Los Updates, Delano Smith, Margaret Dygas or Aérea Negrot, on seminal labels like Sähkö, Playhouse, Ongaku, Cadenza, Perlon, Logistic, Wagon Repair, Mule Musiq, and, of course, Ostgut Ton.
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O Tobias.
Tobias Freund’s process of learning his craft stretches back to 1980. Since then, he has been working as an engineer in the high-end studio of the German producer legend Frank Farian for many years, getting to know everything on the mixing desk you could tweak. Furthermore, he gathered more analogue hardware than others have plugins installed, and learned how to use it. When he felt he was ready to become an artist himself, he had many ideas in mind, thus his music made an impact right from the very start.
Transferring his overground work into underground output, his aliases since the early nineties read like an inventory of German electronic music: Metazone, Zoon, Phobia, and especially Pink Elln. Then he put the full stop behind his first name and started releasing tracks that refined the live approach to his broad variety of music between acid, ambient and techno to reduced but jacking grooves that displayed as much attention to detail as to floor impact and became an integral part of the defining sounds emanating from Germany to rule the clubs worldwide since the turn of the millennium.
He produced and remixed international stalwarts like Efdemin, Ellen Allien, Los Updates, Delano Smith, Margaret Dygas or Aérea Negrot, on seminal labels like Sähkö, Playhouse, Ongaku, Cadenza, Perlon, Logistic, Wagon Repair, Mule Musiq, and, of course, Ostgut Ton.
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