Born and raised in Spain, P.E.A.R.L. emerged from the underground with a sound shaped by the gritty pulse of late 90s and early 2000s electronic music. Deeply influenced by the raw energy of Techno from both the UK and his native Spain, he found his footing in club culture early on. Since relocating to Berlin in 2012 and founding Falling Ethics Records shortly after, P.E.A.R.L. has become a quietly influential force—both as a producer and a label curator. Known for his deeply intentional and emotionally resonant DJ sets, he’s earned a reputation not for chasing trends, but for embodying the spirit of the scene with authenticity and craft. We caught up with him to dive deeper into his journey, philosophy, and the ever-evolving world of Techno.
UK Techno, which you became fascinated with early 2000’s, seems to be experiencing a second youth – young DJ’s and producers from around the world make no secret of their fascination with James Ruskin, for example. What attracted you to this genre back in the days?
I grew up in an area of Spain that has always been very connected to that particular sound. When I started clubbing, in the early 2000s, we used to go to clubs like La Real in Oviedo or El Jardín in Gijon. Almost every weekend, DJs from the UK were playing, as well as the locals. In many clubs of the north of Spain, It was very common to see artists like Surgeon, Regis, James Ruskin or Oliver Ho but also Spanish DJs like Oscar Mulero, who were deeply connected to the Birmingham sound of that era. All of this created a fascination among newer generations, like mine, for that very distinctive and raw Techno sound.
Recent years show us the growing popularity of techno, but in very different sounds and variations. We have lots of internet debates between fans of so-called „proper techno” and the ones who prefer Hard- or Melodic-Techno. How do you approach these kinds of discussions?
I try to stay out of these baseless debates to be honest. For some time now, the tendency to label absolutely everything has been overwhelming. Art, and in this case, music, is no exception. It’s a polarizing and very destructive way to approach music that I disagree with. For me, Techno music is about diversity and lacks empty labels that only seek to turn it into an easily consumable product. Having said that, I’m glad our culture is becoming more popular, but I feel there’s a lack of genuine desire to learn about the history behind.
You’ve been touring some countries in South America, where techno is getting very popular. Is there any difference in the party vibe between Europe and countries like Colombia or Argentina?
Since the first time I was there back in 2015 until now, everything has grown a lot in many aspects. Many countries have their own and distinctive electronic music scene, whether big or small, and the good thing is that we’re seeing more artists from South America touring in Europe. For me, the audience is one of the best in the world, and they make it very easy to connect with them. I don’t think there’s a big difference with Europe in terms of the vibe at clubs or festivals, but many times, the audience is definitely more enthusiastic.
Robert Babicz aka Rob Acid recently told me in an interview that he has the impression that in the near future there will be some kind of breakthrough and people will start turning to the classic techno sound again, and the music itself will slow down. Do you think so, too?
Techno in its purest or “classic” formula comes back every so often and, at the same time, continues feeding itself by everything happening around it. Younger generations who perhaps got into electronic music during the pandemic or because of any mainstream DJs, after some time, if they remain genuinely attracted to this music, feel the need to dig down to its foundations. So yeah, this journey back to the core is not just a trend but an essential part of the genre’s lifecycle, ensuring its legacy continues to inspire and evolve.
The pandemic is long behind us, but it’s still having an effect on the party landscape in many countries – there’s a phenomenon where a lot of clubs are disappearing, closing down due to rising costs – this is the case in both the UK and Germany. Is dance culture under threat in any way?
I believe that our culture has always been in danger in some way. There are many external factors it confronts. From local authorities who don’t provide licenses for new clubs, restrict opening-hours among many other things, to more structural issues in today’s society and the system that always tries to capitalize and corrupt counter-cultures. It’s important to take care of our culture and also our local scenes and invest in education at all levels to preserve it.
Many magazines have recently done rankings for 2024 – who do you think we should pay close attention to this year and when can we expect some new releases from you?
There are some incredibly talented artists in different scenes, both newcomers and others with extensive careers, who are creating really interesting and high-quality stuff. Techno, in general, is thriving—more diverse than ever and with a community that’s increasingly aware and conscious.
Personally, right now, I’m working on music for Falling Ethics. In addition to vinyl releases, I’ve decided to start putting out some digital-only releases to keep the project moving forward more consistently, without being tied to the long wait times at vinyl pressing plants. Early this summer, there’s a split EP 12” coming out with Oscar Mulero on Falling Ethics, and I have a couple of releases on Tar Hallow, along with several tracks featured on various compilations and other projects. I’m also working on a new live set. It’s something I’ve been wanting to play live for a while, especially after not doing it regularly for several years.
We are talking at the very beginning of the year 2025. What personal, musical events have been particularly important to you in the past year?
I’m fortunate to travel all over the world doing what I love, and just this makes me feel incredibly privileged. Last year, in particular, traveling to Kyiv in August and playing at K41 was one of the most intense and rewarding experiences I’ve ever had, both personally and professionally. I met some amazing people, and I have nothing but love for all of them and to that special place.
We are living in very turbulent times: on the one hand, AI is entering our lives, and on the other hand, we are worried about wars in the world. Do you think dancing and losing yourself in the process of raving can be a good way to escape this harsh reality?
As I mentioned before, after visiting Ukraine last year, you realize how crucial these kinds of open and diverse spaces are, especially as safe spaces for resistance, particularly in times like these we are living today. I think they’re going to become more important given the challenges we’re facing.
Your label has an intriguing name: Falling Ethics. Can you tell me how you came up with this name?
The name is deeply connected to everything we’ve been discussing—essentially, it ties into the system and the society we live in. This name came to me over eleven years ago, and today, it feels more relevant than ever. Back then, perhaps it was more of an abstract idea, but after the first releases, it seemed to resonate with the realities we’re facing. Every day, we’re bombarded with news that, in my opinion, undermines the progress humanity has worked so hard to try to solve over the years. Whether it’s social, political, or environmental issues, it often feels like we’re just falling. But the label name (also some of my track titles) isn’t just about pointing out what’s wrong. It’s also about reflecting the opposite—the resilience, the hope, and the potential.
You recently released a vinyl compilation on your label celebrating 11 years of Falling Ethics. For this record you invited artists such as Oscar Mulero, Blanka and Not A Headliner. As a music curator, do you always give free rein to the artists you invite?
Yes, I always give artists full creative freedom. I prefer not to step into their creative process. When I bring someone on board, it’s because I’m familiar with their work and know they’ll fit the label’s vision. I trust their talent completely and believe they’ll bring something meaningful to the project.
And how do you recall the creation of your first album ‘Temptation Through Impatience’? Are you a demanding person for yourself? Does the whole creative and then production process take a long time with you?
The process of creating the album was long and meticulous. My goal was to craft a purely Techno album, avoiding the inclusion of “Ambient” tracks that might feel like fillers.
This record marked a turning point in my creative process, as I began to hold myself to higher standards and truly understood that sometimes “less is more.” For me, an album represents the peak of an artistic moment—something that shouldn’t be taken lightly. It demands time, dedication, and absolute clarity about what you want to transmit to the public.
You moved to Berlin in 2012 – do you think there is a comparable place in the world, as techno culture-friendly as this city?
Honestly, I don’t think there’s any place that can compare, especially not back then. Nowadays, there might be cities with clubs or scenes that feel somewhat similar, but in terms of the overall structure or global impact, I don’t think anything comes close.
Last year, UNESCO included Berlin techno in its list of intangible cultural heritage. When you started your fascination with dance music, did it cross your mind that one day techno would start to be regarded as a „higher culture”?
It’s something I had never really thought about until that moment. I think we often fall victim to external narratives or certain stigmas, and that prevents us from recognizing its true sociocultural value on a global scale. It’s undoubtedly good news, but I think it would be even better if Detroit were included in the equation.
You haven’t lived in Spain for more than a decade – but are there any elements of the Spanish way of life – or perhaps concreto places – that you would gladly transfer to Germany?
Interesting question… Can I bring the light during the Winter? 🙂
What’s your message to our readers for 2025?
I just want to say thank you to everyone for supporting the electronic music scene, and I hope it keeps growing consciously during this year. From my side, I’ll keep working and contributing to it, both through my music and with my label. Thank you, and take care.
Photos : KEYI STUDIO
Styling : Eva Santiago
Interview : Artur Wojtczak
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