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On inclusivity and the Future of Acid Techno

A chat with Diana May.

Diana May has been a central figure in Berlin’s underground electronic music scene for over a decade. Known for her fearless fusion of acid techno and high-energy beats, she has carved out a distinct identity as both a DJ and producer. From her residency at the iconic KitKat Club to releases on prominent labels like BPitch Control, Diana’s journey is as bold and uncompromising as her sound. In this interview, she shares her inspirations, challenges, and aspirations for the future.

You’ve been part of the Berlin underground for over a decade. What first drew you to electronic music, and what sparked your journey into the world of acid techno?
I think the first spark was definitely the Daft Punk video I saw back in Russia in 1999 on MTV. I was super flashed by everything: the sound, the anime video, and the story (even though I didn’t get the lyrics at the time, haha). Later on, it was a smooth transition from pop to electronic music.

As a resident DJ at Electric Monday at KitKat Club, how have you seen the party’s (and the club’s) vibe and energy change over the years, and what steps do you take to ensure your sets stay fresh for both regulars and newcomers?
As a DJ, evolving your taste is always part of the job, as you’re constantly searching for and buying the latest music—at least that’s important for me. I like to incorporate some really old pieces from time to time, but only one or two in an hour-long mix. Beyond that, it’s still a DJ’s job to read the crowd and adjust. This doesn’t mean changing the sound completely, but going with the flow.

Having performed at legendary venues like Renate and Suicide Club, how has Berlin’s distinctive club culture influenced your approach to DJing? What are your personal favorite spots to play or hang out in the city?
A lot! I loved the anonymity back in the day. Of course, now after nine years of living here, I know some people, but the no-pics policy is still very relaxing. I like it rough and intimate—that’s Berlin’s influence. My sets have also gotten darker and more industrial. I love how direct and honest people are here. Personally, I love hanging out at RSO or Berghain. Kitty (KitKat Club) is one of the funniest places to play for me.

“I don’t want to work in a male-dominated field, or a female-dominated field, or any other overly dominated gender field. I want all kinds of different humans around me who love what they do.”

You’re known for your fearless approach in fusing acid techno with hard-hitting beats. How did you develop this signature sound, and what role does experimentation play in your productions?
This year, I created four tracks per month. I was lucky to have my partner in crime, Ingo Rieber, as the master of mixdowns and vocal enhancements by my side—otherwise, that wouldn’t have been possible for me. This work helped me so much to find my direction, arrangement, plug-ins, VSTs, and more for my signature sound. I’m super open to creative input. I like fast decisions that feel right, and after that, I fine-tune everything. The ideas come from everywhere: lyrics, sounds, tracks I like, and so on.

Your latest release on BPitch Control, We Are Not Alone Pt. 8, is a huge milestone. What does this release mean for you, and how does it reflect your musical journey?
I guess the best answer to this is: I have an “alien cat in spaceship” tattoo now with the letters We Are Not Alone on my left arm. That says it all—dream come true. I hope there’s more to come, haha.

You’ve also contributed to Diffuse Reality with an upcoming EP. Can you share more about the vibe and inspirations behind this release?
My “rave” EP was a special release. Diffuse Reality reached out to me, taking five tracks for my first release, which was unexpectedly generous and rewarding to hear. They released the track Screaming, which is my favorite and basically the counterpart to my BPitch Control track Just Shut The F**k Up. My second release on Diffuse Reality is coming on January 27 next year.

Having performed at festivals like CTM and Berlin Fashion Week, how do you adapt your sets for such diverse events? What’s the key to maintaining a signature while engaging varied audiences?
I am always myself when performing and love to play tracks I own but rarely get the chance to play because my tempo is a bit faster. So I never feel like I’m changing up—it’s just a slightly different side of me, where I can show my love for various music and vibes.

“The best thing is to share my music with the people. I want to bring the finished tracks out into the world and create some memorable moments with my listeners.”

In addition to your DJing and producing endeavors, you are committed to nurturing the next generation of artists through your work as a coach. What’s the most important piece of advice for anyone entering the electronic music scene today?
Just go on and dare to make mistakes, but always stay polite with everyone (and have backup plans, haha).

The electronic music industry can be tough, particularly for women. You’ve openly discussed the challenges you’ve faced. What changes do you hope to see in the scene in terms of inclusivity and support?
For me, it’s mostly about having a diverse space to work in worldwide. I don’t want to work in a male-dominated field or a female-dominated field—or any other overly dominated gender field. I want all kinds of different humans around me who love what they do. I know it’s very idealistic, but that’s my hope.

You’re also part of Midi Agency and involved in various other creative and entrepreneurial ventures. How do you balance your DJing career with all these additional roles?
Oh, as a human like everyone else, it’s a challenge for me too. It takes constant work and adjustments. But the good thing is I get a lot of boosters from my agency. It’s also important to set some spaces for yourself to recharge. Doing proper sports is a big plus—I’m still working on my routine. That’s a 2025 goal, haha.

Finally, your commitment to underground music is clear. Where do you see yourself in the next five years, both musically and personally?
Touring and banging the shit out of you, lol. Fun aside, I will definitely reduce the number of tracks I create per month in 2025. I want to bring the finished ones out into the world and create some memorable moments with my listeners. The best thing is to share my music with people. I want to tackle Asia more—Japan is a big dream to visit and play.

On Inclusivity & the Future of Acid Techno

Credits:

Artist: Diana May / @dianamaydj
Editor: Anca Macavei / @ancamacavei
Assistant: Annalisa Fabbrucci / @annalisa_fabbrucci

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