This is an excerpt of an article originally shared by Struma+Iodine on March 23 as:
”At a certain point, techno felt exhausted” – in conversation with Transki
Should discovering new music require more effort again? Vienna-based DJ, producer, and now label founder Kevin Yang, aka Transki, tells Simon Popp how he developed his musical taste by hand – and shares his thoughts on the future of a genre.
To be honest, your label name Mystic Research first sent me down a spiritual path, especially in the context of trance. But you’ve already mentioned in an interview with FM4 that the mysticism and sacredness you’re referring to are actually found in the profane – namely in the very earthly act of digging for music, exploring, discovering formats and sounds. You say these moments are becoming rarer. Why is that?
Music is available at any time today – and that fundamentally changes our relationship with it. Algorithms feed us what we already like or what’s trending. As a result, the act of searching and personal discovery is fading away.
Back then, it was about conscious exploration, a deep dive into a subculture. You had to dig, exchange music with friends, compete: who discovered the most obscure track? Who brought the next unexpected gem? It was a way to define yourself. That function of socialization has largely been lost.
That’s why I often post old stuff on Instagram – because I recently found or rediscovered it. Many of these releases are older than I am and still sound damn good, even after 30 years.
[…]
With your label Mystic Research, you want to bring back that moment of musical discovery!
Exactly. It’s about that pivotal moment in your mind: “Wow, I’ve found something new!” Algorithmic delivery of music might be enough for majority of people. But for subcultures and scenes, it’s not sufficient – there needs to be manual curation.
Your first release, MYSTIC01, is a big compilation with 15 different artists. It’s called Year of the Wood Dragon. What’s behind the name?
A compilation allows more freedom than an EP or LP. I wanted everyone involved to try something new, outside their comfort zones, without being restricted by a rigid concept. The idea of using the lunar calendar came quite naturally – I want to continue the series long-term, with the same periodicity as the East Asian zodiac.
And will each animal have its own aesthetic? Like: this is the sound of the dragon – but what would the chicken sound like?
I’ve tried. With the dragon, I had a clear vision: an awakening, a rising. These kinds of associations help structure a compilation. At some point, you inevitably ask yourself: What was I trying to achieve?
In practice, it’s incredibly hard to bring together 15 tracks. And then they’re supposed to fit a concept – you have to approach it with openness, but also with a sense of direction.
[…]
So is Mystic Research a trance label or genre label? I remember when goa was almost taboo in the techno scene. What I love about your instagram posts is that you mix Detroit electro, German dub techno, and psytrance without drawing lines – and without irony. But what do genres mean to you?
I think genres and distinctions have their place. I can’t stand it when people try to flatten every subculture and niche into one. Genres exist for a reason – and they’re incredibly enriching.
In 2010s Berlin, things got very elitist. Techno was the gold standard, and if you didn’t stick to it, you were out. I remember sitting in Volkspark Friedrichshain, playing drum’n’bass from a Bluetooth speaker – a lot of people were not cool with that.
Another important point: we need to stop obsessing over defining genres purely by technical means. Those discussions never end. To me, genres are also expressions of social belonging. Personally, at a certain point, techno felt exhausted. Trance felt fresher, more spacious. When I started in 2020, trance was considered dead in the public eye. But on Reddit and Soundcloud, there were people excited to see things moving again.
And in the last five years, trance has definitely made a comeback – from Berlin to Copenhagen, even becoming a bit of a fashion trend. But often with a layer of irony…
I really don’t get irony in music. It’s often just an excuse for not doing something properly. If I do something, I do it seriously, with full commitment. That doesn’t mean music can’t have humor – but it shouldn’t undermine itself.
Trance clearly isn’t dead right now! Between fashion bros, irony, and cooler heads like Alpha Tracks – where do you think things are heading?
Tough question. There was a recent Arte documentary about trance, and I wondered how the whole ‘trash factor’ crept in. Right now, it’s all about hedonism, irony, and standing out at all costs. Music becomes just a tool for an artist’s persona. But that trend will pass.
Trance should reflect on its essence. The name itself already suggests what it’s really about.
Words by Simon Popp. Photos by Ronja Kappl.
Record Turnover would like to thank Struma+Iodine and Transki for allowing us to translate and share part of their article, which you can read in full here.
