Breakwave’s background encompasses visual arts, DJing, producing, and the artistic curation of multidisciplinary events. She also hosts a regular show on NTS Radio. Most recently Breakwave has been working hard to transition her celebrated Meine Nacht party into label form, exploring the boundaries of the electronic music domain.

Meine Nacht made an unforgettable impression on Liverpool’s clubbing scene when it began back in 2015. The series of live-streamed secret parties took place in small galleries, a supermarket, and even an old police station, bringing forward-thinking artists to the City of Liverpool. An undeniable hype and reputation led to the nomination of a “Best Of British Award” in 2018 and a label launch at the prestigious Tate Gallery last year.

Fittingly, the event’s label counterpart channels an alternative and detail-focused approach, and builds upon it. It plays out as a reflection of the evolution of Breakwave on the periphery of dance music. By now, you can find her fitting comfortably between The White Hotel in Manchester and Trauma Bar und Kino for Raster Notion in Berlin. Obsequies is undeniably the perfect fit for this newly founded label. With a previous release on Planet Mu’s sublabel Knives [see zweikommasieben #11], Obsequies is recognized for their display of dynamic sound design, visceral breakdowns, and extraordinary spaciousness, which echoes out beauty and chaos.

Both artist’s on the rise spoke to Thomas Romana about their production practices, plans, and more. Furthermore, you can pre-listen to “Chrysalide” remixed by ssaliva at the very bottom of the article.

Part I: Obsequies

Thomas Romana I’d like to talk a bit about your production process. To me, your tracks are quite emotive, intricate, and inspiring. How does a typical Obsequies track start and end?

Obsequies I wish I could answer this question, but since I’m wandering in a haze on a daily basis, I can’t really remember what I was doing the day before. Anyway I don’t have a regular workflow and I’m letting a lot of chaos interact with the process so there is not really a true sense of starting or ending something. It’s more like you are grasping some pieces from a shapeless mass.

TR Still, your sound seems quite distinct. How do you explore that? Do you have a concrete idea from the start?

O I don’t try to think about the process at all. It’s almost like losing yourself in the flow, you are there but not really, you can’t really tell either if it’s you or someone else who is doing the sound at some points.

TR By now, you have a live set that you tour with. How long does it take you to compile your live set and what does it involve?

O I’m compiling a new live set for almost every show, it’s a lot of work and I have original material in the form of songs and improvisations specifically picked out for each show. The idea is to thwart my compulsive need to record everything; as a result you gain this beautiful thing, letting music vanish forever into the air.

TR Is there a visual aspect to your work, e.g. do you create artworks or visual media, does your production process encompass any kind of visual aesthetic?

O I like doing digital collages to go along with my music, nothing special.

TR Do any artists in particular inspire you? I sense there is an essence of inspiration coming from the works of Arca?

O I must admit that what I’m doing is basically ripping off Arca and my friend Kysplease. I was so impressed by the Mutant album; I started making electronic music based on the aftermath of my first listening. So typing how to rip off Arca on Google then lead me to an organic signal processing post on Reddit, that’s how I learned to do my thing.

TR Finally, what do you have coming up that we can look out for?

O I have a mixtape coming out which is a prelude to the Carcass EP and a new EP with Qba Janicki, which will be released on Pointless Geometry.

Part II: Breakwave

Thomas Romana Meine Nacht has existed as a series of secret parties for over three years now. Recently, you launched the record label under the same name. Can you explain a bit about the concept of the physical releases and the label’s intentions going forward?

Breakwave I wanted to create something unique and distinctive for record collectors. Something also relatable to the concept behind the event, which is a series of secret BYOB parties in unused spaces in Liverpool. The last release on the label consisted of limited edition dubplates, no inner label, which I hand stamped. So this time I was looking for something different and it’s an idea that I have been researching for some time. I finally found a plant that would engrave onto the records and this new release features a tercet, which is a poetic triplet. Going forward, this will be a theme on each release. I’m constantly looking for new and interesting ideas for the physical element; it’s not mass production and that’s what I like about it.

TR The label encompasses experimental music on the periphery of the dancefloor, which is not too dissimilar to music that you feature on your NTS residency and your recent mix for Fact. It seems there’s an aim to explore and take risks that other DJs wouldn’t necessarily take, as Fact made reference to. Would you aggree?

B I’m intrigued by non-linear sounds; I want to channel this through the label. Up to now, the music has been experimental but also functional for the dance floor. As a DJ, I like to take risks and prefer the element of surprise. I don’t focus on one sound in my mixes because I like a lot of different genres so it’s an amalgamation. Ultimately it’s all about having fun when playing out, so for me that means reading the crowd and engaging them in new sounds.

NTS has allowed me to explore, experiment, and cover new ground. When I started the show on my own, I’d barely played out, so it helped a lot in my progression. I was really nervous to start off with, as my focus was to please others… Once the nerves started to shed, that’s when I found what I enjoyed playing most. I don’t want the music I release on the label to be predictable. A piece of art is subjective, it’s based on your personal interpretation and I want the label to work in the same way, allowing the audience to explore the dancefloor in new ways, with new sounds.

TR Does the music you are making fall in line with the releases on your label? What are your methods of production?

B I’m now making music that I enjoy, with a focus on sound design. It’s been a process of learning as I go, I’ve read a lot and had to teach myself techniques to achieve the sound I’m after. My music fits in with Meine Nacht. But once it’s out there, I’d be happy for a label other than my own to release it. In addition, I’m also working on a collaborative EP.

TR How does the label and keeping up to date as an artist fit in with your touring schedule?

B: I love running the label and planning parties, but it takes up a huge amount of time. This current EP on the label has taken around six months to plan, coordinate, and put together. The last release was pretty intense, too, because of the combination of label launch event at Tate, collaboration on my first live set, and the visual aspects. Ultimately, DJing is what I love most and want to do more of.

TR Can we talk a bit about the party and transition into a label?

B Meine Nacht parties have taken place in a supermarket, canteen, boiler room, galleries, an old police station, and warehouses. The buildings are completely empty and I don’t work with a designated “team.” I have my sound guy. He brings the system in and is the engineer for the night. I’d always wanted to run a label—and did so as the co-owner of Deep Sea Frequency. With Meine Nacht, it was a natural progression; it’s an extension of my interests, and aims to represent music that is eclectic in both sound and genre, music I personally enjoy and the good stuff I’m receiving as a result of my NTS residency. I’m really looking forward to it’s future and helping other artists to get their music out there.

TR There is a distinct connection between the arts and music world in your practices as an artist, e.g. your recent commission with Tate for the label launch that incorporated a 360 degrees audio reactive and interactive installation. The sound you are pioneering and the label’s/parties’ reputation has been referred to as “avant-garde” and “club music as abstract modern art”. Do you think this is a true interpretation of what you do?

B Yes, I feel they are fair descriptions. I studied art and used to work with Tate in Liverpool, teaching young people how to VJ. The reason I didn’t continue studying art at University is because I did not like the confines of a rectilinear brief, almost being told what to do. I like to have total creative freedom in what I do. I enjoy exploring music that is not necessarily conventional, it leaves me wanting to figure out the processes. I hope that’s the same feeling those have, who are listening to the output on the label or to what I’m playing in DJ sets.

I like this approach in visual media and art, too. I like attending exhibitions and I’m interested in alternative experiences that exist outside of the club environment. That’s why Meine Nacht exists, in an effort to combine these worlds and explore different creative realms. Showcasing this style of music at galleries came instinctively; it’s something that takes you out of your comfort zone and for me that’s way more interesting—especially as a DJ, if you can make people move in these kinds of environments.

TR And finally, what’s coming up for you and the label next?

B I have an upcoming event series that I’m excited about. I’m playing in Lithuania for the first time, Berlin, a set at a Boiler Room event in my home town, Kiosk Radio show, and a new mix coming with a cool platform, which has been in the works for some time now. Aside from that, I’ll be strictly in the studio drinking copious amounts of coffee.