DGTL Records & Henrik Schwarz preps its 23rd release with internationally renowned producer and composer. ‘Home In On’ is available on 27 January + Track Premiere. Interview by Greg Bacinski

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For those who have followed DGTL over the years, you’ll recognize the name, Henrik Schwarz. He is one of the game’s most dexterous and prolific names, an electronic music legend, masterful composer, and true artist. Over twenty years, some 100 releases, eclectic collaborations, and countless beloved performances worldwide, he delicately balances the line between electronic, classical, and jazz through everything from sweaty club sets to seated auditorium live performances. But that only scratches the surface.


With Home In On, the German maestro joins the DGTL Records family, emerging from the pandemic with two tracks of studio wizardry and a clear reminder of why he is one of the premier names in melodic minimalism.

Hey Henrik, pleasant to talk with you for the first time, how have you been?

I am very good now again. During the past 2 years, I realized again how much I love what I do. I also learned how important it is to be together with people and exchange ideas. In some way, I am thankful that there has been a STOP moment in everyone’s life. When you move fast you might overlook a few things that are important. When you slow down for a while the perspective changes and I found that an interesting new input.



Speaking about sound evolution, how would you describe your music now and back in the day? 

When I started I didn’t expect anything and everything I made was new and exciting. Like a child in the candy store. Over the years everything got much more professional. Both from my production perspective and also from how everything in the scene developed. For example, if you compare the sound systems when I started to the ones we have now it is clear that that also reflects in the overall production quality of producers. But still today my most important strategy is to combine extremes: Loud and quiet, big and small, artificial and human, nasty and sweet, etc. And keeping the inner child alive and excited about small things. 



You worked with artists like Mary J Blige or Coldplay with different styles… Could you tell us about the biggest aspects of collaborations in music? How do you usually pick the artist?

Well, they usually pick me, and then you see if something comes out. I think it is mostly about trust. Again here you can combine very different things and the result might be very interesting if you manage to find a common language together and trust each other. I usually get very interested when people come from outside the dance music world. Then you throw your ideas together and try to find the essence of that combination.

你与Mary J Blige或Coldplay等艺术家合作,风格各异……你能告诉我们音乐中合作的最大方面吗?你通常是如何挑选艺术家的?


Credit Krijn van Noordwijk

Your current EP is released on DGTL Records. Could you tell us more about how that happened? and your experiences with the festival itself?

I play DGTL for a very long time. And I trust them. Over the years it feels like there is a strong connection. I feel they always put their best into everything they do. And they never stop adding new ideas. Big ideas. I like that a lot and I always feel at home when I play DGTL.



Speaking about your track which we are premiering – Posidonia Oceanica, the groove and bassline work perfectly, how did you come up with the idea for a track? and what was the process of it?

One of my favorite ways of producing is to improvise during a set live on stage. I always have a small keyboard with me and if everything feels right I just start playing something. I grab a random bass sound, add some keys and a lead sound and work on the drums a bit. I believe that if all goes well then the energy of the place and the people somehow sneak into this recording and make it very special. Something you can’t create in the studio. And that can be the basis for a new track. That is exactly what happened here. After my set at DGTL Tel Aviv, a few people sent me videos and asked for the track that I had played. So I decided to work on it a bit, which later became Posidonia.

谈到你的曲目,我们正在首发 – Posidonia Oceanica,凹槽和bassline效果很好,你是如何想到这首曲目的?


What are your further plans for this year ?

I am working on an album for a great label that I have been working with for a long time. Some remixes are already nearly finished as well and will be out within the next few months. And I am working on a hardware project that I hope will be able to announce soon.




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