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Rewire the Chaos

A chat with FJAAK.

Broken glass. Strobe scars. Bass shaking the bones of an abandoned forest. FJAAK came up on raw instinct—hacked gear, illegal raves, no sleep, no plan B. Before the bookings, before the Boiler Rooms, it was just a basement in Spandau and the thrill of noise with nowhere to go but louder. Now they’re closing Berghain for 11 hours, running a label that’s more like a syndicate, and still building everything by hand. This isn’t a nostalgia act. It’s muscle memory. It’s resistance through rhythm. Spandau20, the Berlin-based collective label rooted in underground rave culture, celebrates its 10th VA with 10 tracks from its co-founders—each one a reflection of the label’s raw, percussive, hardware-driven ethos. To mark the occasion, we sat down with FJAAK for a a deep dive.

FJAAK has always had a unique sound that pushes boundaries. In the fast-paced world of electronic music, staying relevant is no easy feat. What’s the biggest challenge you’ve faced in maintaining your creative edge, and how do you keep surprising both yourselves and your fans?

We just do what we feel like doing. The moment you start making music to meet expectations, you lose your own sound. Of course, there are times when we question what’s next, but honestly, those moments often lead to the most interesting ideas. We experiment a lot, listen to all kinds of music, and don’t stress about trends. At the end of the day, it has to feel fresh for us – if that happens, it naturally surprises others too.

In the early days, you spent entire days at home or in the studio experimenting with software and computers. Then came the moment that changed everything: discovering synthesizers. From that point on, machines became your closest allies—AKAI MPC60 RYTM, OCTATRACK, 303, Nordlead 2x, Roland SH-101, Sub 37, TC 2290, Moog Voyager XL, Lexicon 300, Urei 1176LN REV F, Eventide H3000 SE… Do you remember your first encounter with one of these? Which one was it, and how did it feel?

The first synth we actually owned was an Elka22 – Felix’s mom gifted it to him when he was around ten. No idea why she chose that one – she had it from her former band, but it definitely set things in motion. It was absolutely fascinating to hear and experience the endless creativity power of a Single Synthesizer. The next piece was a Jomox X09 (some weird attempt at cloning a 909). It never really sounded like the real thing, but that’s exactly what made it interesting. From there, our by addiction for gear and sounds started and there was no turning back.

You studied sound engineering at university. How much did that academic background shape your technical skills? And in a world where so many producers are self-taught, how valuable is formal education?

Studying sound engineering definitely gave us a solid technical foundation – learning about acoustics, mixing, all that nerdy stuff. But let’s be real: most of what we actually use today comes from just spending endless hours in the studio, messing around, making mistakes, and figuring things out. You don’t need a degree to make great music, but if you’re really into the technical side of things, it helps. In the end, passion and experience matter way more than a diploma.

The underground parties you threw in the Spandau forest became legendary, shaking up Berlin’s nightlife—at least until the police got involved (lol). Berlin is a global clubbing capital, but events like yours, legal or not, still exist. Or am I wrong? Why do authorities crack down on the rave scene while marathon clubbing sessions are widely accepted?

Berlin has one of the best club scenes in the world, but there’s always been this weird double standard. If a party is in a licensed club, you can rave for 48 hours straight, no problem. But if it’s a DIY event in a forest? Shut it down. We get that there are rules, but these underground parties are just as important for the culture as the big clubs. In fact, that’s exactly how the scene started. Clubs like Tresor began as illegal venues, taking over abandoned spaces and turning them into temples of sound. That same rebellious energy still fuels the culture today. We’ve done the same taking.

Your events didn’t just make waves—they also caught the attention of Berghain’s booking manager, landing you a set at Panorama Bar. Even your parents came to see you play there. How important is family support in this industry? And what was their experience like inside Berghain?

Our parents came to Berghain many times. Aaron’s dad even used to rave in that club since its opening, as he’s an old-school raver from the ’90s. Family support in this industry is so important because it’s not exactly a stable, 9-to-5 career path. Having family and close friends around also keeps us grounded. The artist lifestyle can be intense, fast-paced, and sometimes overwhelming, so having that strong personal support system brings balance and perspective. It’s a vital contrast that helps us stay connected to what truly matters. Knowing that your people have your back makes a big difference!

In 2019, you co-founded “Spandau20” with friends and fellow artists – a collective where every member is an equal partner. The roster includes established names like Anne, Elli Acula, Fadi Mohem, Miss Kittin, Norman Nodge, Steffi, and many more, but also up-and-coming talents, whom you treat as equals to the veterans. Does this philosophy come from your own experiences? With so many new artists flooding the scene, how hard is it to break through today? And what’s the meaning behind the “20” in the name?

Yeah, from the beginning, Spandau20 was never just a label—it was a platform for our friends and family. We all started out together, throwing raves in Spandau almost 20 years ago, making music, and pushing each other forward. At some point, we realized we didn’t just want to release on different labels; we wanted to do it together, as a crew. That’s how Spandau20 was born.
We were also lucky to have support from well-known artists, people who believed in us not just because of the music, but because they’re our friends. That backing helped us a lot in the beginning, and it showed us how important real connections are in this scene.
Over time, we also created CROWD, a platform that supports both new faces and legends alike. It’s not just about pushing individual artists, it’s about building a strong community that keeps the culture moving forward. And the “20”? It’s just the old district number of Spandau. No deep meaning, just a tribute to where we come from and the roots that still connect us.

That same year, you played your first closing set at Berghain—an 11-hour marathon (respect!), right after a European tour. For many DJs, closing a club like Berghain is an intense, almost spiritual experience – a chance to push boundaries and explore new sonic territories. Was it the same for you? How did those 11 hours feel?

These marathon-like sets are a journey, no matter which club. It’s not just about keeping people dancing; it’s about taking them somewhere, building waves of energy, playing unexpected stuff, and seeing where the crowd is willing to go. A closing set is something completely different from a standard two-hour festival set. It has a deeper, almost psychedelic approach, where you can truly explore and connect on another level. There’s something spiritual about those last hours, when only the most dedicated dancers are still there, completely lost in the music. After 11 hours plus, you’re completely in the zone, but of course also totally drained. It’s intense, but that’s exactly what makes it so special. Closing sets are our absolute favorite to play.

The Covid-19 pandemic hit clubs hard. In 2020, you launched “SYS – Support Your Scene”, a compilation dedicated to the venues that always supported you: OHM in Berlin, Lehmann Club in Stuttgart, Bassiani in Tbilisi, Basement in New York, and many others. But even though the pandemic is over, the club scene hasn’t fully recovered – venues are still shutting down. In Berlin alone, institutions like Watergate and Renate have closed their doors this year. What’s your take on this crisis? Do you see a way to stop this wave of closures affecting such important cultural spaces?

Yeah, the club scene is still struggling. It’s crazy that after everything, some of the most iconic spots are still shutting down. Rent is going through the roof, and a lot of places just can’t keep up. The only way to save these venues is for people to actually support them – show up, buy tickets, keep the culture alive. And cities need to start seeing clubs as cultural institutions, not just businesses. If we lose them, we lose a huge part of what makes Berlin, Berlin.

After six years since “Havel” (2018) and seven since “Fjaak” (2017), you finally released “Fjaak the System” – a massive 23-track album featuring heavyweight collaborations: Modeselektor, Skee Mask, Red Eye, and even J.Manuel (former member). The record blends UK breakbeat, techno, 2-step, drum and bass, jungle, trip-hop, and ambient. What was the creative process behind it? Did the long gap since your last album influence the way you approached this project?

Definitely. That time in between gave us space to evolve & grow – not just technically, but also emotionally and creatively. We weren’t in a rush to drop something just to stay visible like this industry is doing. “FJAAK THE SYSTEM” came together super organically, without pressure. Some tracks were made during intense studio sessions 5 years ago, others on the road just a few weeks back. Having so many influences over the years – breakbeat, IDM, jungle, dub, hip-hop etc. – we just wanted to pour all of that into one big, raw, no-compromise album. Working with friends like Modeselektor, Skee Mask, Red Eye, and especially bringing back J.Manuel for a feature was the cherry on top.

Back in 2018, you posted a photo of a “FJAAK THE SYSTEM” tattoo on your Instagram. The phrase itself is bold and rebellious – it seems to embody your drive to push an innovative sound, breaking away from an industry that often prioritizes quantity over quality. In your opinion, how much do elements like individuality, risk-taking, experimentation, conformity, passivity, fear, and mediocrity shape the electronic music scene today?

A lot, honestly. We give a fjaak about the people’s desire for who or whatever. But yeah, there’s a ton of safe, polished music out there – that’s cool for some, but it’s not what we’re about. It’s even the trend right now maybe. But we’ve always been more into taking risks, doing what feels wrong/right even if it’s not “marketable.” You can hear when someone’s being honest with their sound vs. just playing it safe for hype, streams or event slots. The scene needs more rawness again – more imperfections, more edge. We miss out on people creating their own sound because they just jump on common trends instead.

Speaking of Instagram, I’ve been following you for years, and I couldn’t help but notice (lol) that your feed is pretty much filled with the devil’s lettuce. You clearly appreciate it. Do you remember your first time? And do you think it enhances creativity, or is it just something you enjoy on the side?

Haha, yeah – it’s no secret. We’ve got love for it. First time? Way back, at a friend’s place, with some of our best friends to date – a classic too-much-too-fast moment. These days, it’s more than a vibe enhancer. Sometimes it helps spark new ideas in the studio or just slows the world down enough to hear something differently, while it’s spinning faster than ever! We definitely don’t rely on it – it’s not some magic creativity hack, but maybe even part of the atmosphere sometimes.

On April 10, you been dropping “Spandau20 010”, the label’s tenth release – ten tracks by artists and co-founders like Elli Acula, KiNK, Dajusch, Claus, Anna Z, Nikk, J.Manuel, and Tobi Neumann. The opening track, “Come Closer,” brings all of you together. What’s the story behind it? How does being equal co-founders influence the creative process? And what sparked the idea to launch the label in the first place?

“Come Closer” is like a statement piece – bringing the whole label fam together on one track was something we always wanted to do. The energy was just right, everyone brought their unique flavor. Being equal partners means no egos, no hierarchy – it’s about building something real together. Spandau20 started because we wanted to create a label that reflected our values, both musically and socially. It’s not only about dropping bangers of course – it’s about community, pushing each other, and making sure everyone shines as they’re supposed to.

Your record artwork has become iconic – white vinyls with bold, graffiti-style lettering in vibrant colors. Was your love for hip-hop a big influence here? How important is the visual identity of your releases?

Definitely 100% influenced by the Berlin street. Not only the Graffiti, but any kind of street culture, that whole visual language – it’s in our DNA – we grew up around that. The white labels with bold tags just felt right – it’s clean but loud at the same time. And it stands out, which is rare in a world full of over-designed covers. We wanted something that was direct, honest, and unmistakably “us.” We still remember running from the cops, sweat-drenched, with the cans rattling loudly in the backpack, hiding somewhere in the bushes along some of these artists on our label and this release ;)

How would you describe your collective dynamic? How do you handle conflicts and creative differences?

We’ve been making music together for so long, it’s like our second nature. Of course we don’t agree on everything, but that’s a strength! If someone’s not feeling an idea, we don’t force it – put it to the side for a while or keep it moving until we hit that moment where we all go, “yeah, that’s the one.” Communication is key. We trust each other’s taste, and there’s supposed to be no ego in the room. At the end of the day, it’s about the bigger thing – and not who came up with what.

Finally – what’s next for you? Any exciting plans on the horizon?

Always! We’ve got LOADS of new music in the pipeline, some wild collabs, and a few ideas for live sets we haven’t tried before – we are actually excited! Also the next Spandau20 drops are looking spicy, and we’re planning some label nights across Europe / USA too. Maybe even some surprises outside the usual club spaces – we like to keep people on their toes. Let’s just say: we’re not slowing down anytime soon !

Rewire the Chaos / A chat with FJAAK

Credits:

Artist: FJAAK / @fjaak
Label: Spandau20 / @spandau20
Photography: Ronja-Elina Kappl / @ronjakappl
Styling: Natalia Farnaus / @nfarnaus
Styling Assistant: Noelle Hauer / @amabelnoelle
Interview: Gianmaria Garofalo / @gianmaria.garofalo
Editor: Anca Macavei /  @ancamacavei

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