Max HeyraudFrank Wiedemann, one half of the pioneering duo Âme and co-founder of Innervisions, reflects on two decades of shaping electronic music ahead of his return to Dublin.
Frank Wiedemann is one half of Âme, one of the most lauded and genre-defining duos in contemporary electronic music, alongside Kristian Beyer. Across two decades, the pair have built a discography etched into the foundations of modern club culture, from iconic remixes for J Dilla, Solomun and The XX to era-defining releases on labels like Ostgut Ton and Rush Hour, not to mention their own imprint, Innervisions, an institution as influential as the artists behind it.
Tracks like their remix of “Howling”, “Rej,” and their rework of “Envision” have become generational staples, shaping the sound and sensibilities of countless producers and dancers. For many, Âme have been a blueprint, a guiding light for what electronic music can be in a modern lens.
Beyond Âme, Wiedemann is the co-founder of both Innervisions and Bigamo Musik, and a member of projects including A Critical Mass, Schwarzmann and Howling. His career has always been defined by a forward-looking spirit, an instinct that continues to drive everything he touches.
We caught up with him ahead of his return to Dublin this Friday at Centre Point. You can purchase tickets here.
You’re currently on tour across Asia. How has that experience been so far? Any standout moments from the trip, musical or otherwise?
It was a very, very brief stint in Tokyo and Hong Kong. It’s always great to connect to this part of the world. I wish I had the chance to spend more time there.
This year marks 20 years of Innervisions. Anniversaries are always special, but reaching two decades is a major milestone. How does it feel to celebrate 20 years as a label?
It feels great. The 20 years seem to have passed so quickly. While we’ve been kept busy working on the development of the label, this milestone has given us a moment to reflect and be grateful for what we’ve accomplished over the years.
How has the 20th anniversary tour been overall? You’ve brought it to some of the world’s best venues. What has it meant to celebrate such a milestone in places of that calibre?
Altogether, it has been a blessing. Seeing that we can realise these events in so many different parts of the world, in such special venues, has been almost overwhelming. It inspires and motivates us to keep pushing ourselves to create events that deliver special moments and great dancing parties.
In a talk you gave with Machines – The Music Lab in Berlin, you mentioned that your strengths and weaknesses as a producer are working without boundaries, which can be both liberating and limiting. Could you expand on that? I’m curious because I don’t necessarily see that as a negative.
When I have the freedom to work without boundaries, the challenge is not to lose myself in the endless possibilities, but to discover what the song truly needs, and what it doesn’t. And to actually finish it. That’s why it’s vital for me to have trusted partners who help me find its essence.
Do you remember the first time you fell in love with electronic music?
There have been many moments, from listening to ’70s fusion records by Miles Davis, Herbie Hancock, Joe Zawinul, or Can, as well as other Krautrock legends like Harmonia or Cluster, to later discovering club culture, from Detroit’s techno roots to London’s broken-beat scene through recommendations from Kristian in his old record shop in my hometown. I’ve been, and continue to be, endlessly intrigued by both old discoveries and ever-new findings.
Do you think that more people having access to DAWs has led to greater innovation in the scene?
Yes and no. Yes, the decreasing costs and increased availability give more people the opportunity to be creative with fewer resources. On the other hand, no, because it becomes harder to stand out amid the ever-growing amount of output, and to actually recognise true innovation.
From the outside, you still seem as excited as ever to make music. Would you say that’s true?
I didn’t realise I came across that way, but yes, it may be true. Music has always played a major role in my life. Having the opportunity to turn it into my profession allows me to dive even deeper into music consumption, production, and performance. Because it’s a never-ending journey, the excitement just keeps growing.
You also run Bigamo Music, which you founded in 2017. What inspired you to start that project?
Bigamo Musik is dear to my heart and offers a beautiful balance to my more four-to-the-floor musical endeavours with Âme and Innervisions. First and foremost, it’s a platform for friends and musicians I discover who create great music outside of the club and house scene, and who are looking for an outlet for their work. I’m happy to provide that space and to offer guidance where I can to support the artists.
We’re currently looking to further develop the label, so you should follow us and make sure not to miss the exciting music and appearances we’re working on.
You released your EP Symphony of Now on Bigamo in 2018. My personal favourite is the collaboration with Modeselektor, a 15-minute masterpiece. Was that taken largely from a live jam, or is there a story behind how that track came together?
There was a 1927 silent movie about Berlin by day called Sinfonie der Großstadt (Berlin: Symphony of a Metropolis). I was approached to contribute the soundtrack for a 2017 remake, Berlin by Night, which was to be filmed and edited to my music rather than the other way around. I loved the idea of connecting the two films by improvising on the original movie’s five acts with five different Berlin musicians.
For each act, I selected artists from different eras and genres of Berlin’s electronic music scene and invited them to my studio. And yes, we essentially jammed to the corresponding act. For the fourth act, where the film really culminates, Modeselektor and I had a great session; they are both very unique in how they work.
What inspired you to sponsor two full scholarships for the Circle of Live Online Mentorship Programme?
I discovered teaching during the Pandemic. It was a chance to work and I learned how much fun it is. While it also helped me find a way to work, we didn’t want it to be exclusive to people who are able to afford it, but also give students a chance who are interested but don’t have the means.
Âme are often regarded as some of the best remixers in electronic music, but I’m curious, who are your favourite remix artists? Who do you look up to in that realm?
At times when I was still DJing, I loved playing remixes by, for instance, Masters At Work, Carl Craig or Charles Webster. But these days I can’t really pick one. I generally like it when a producer gives the original a new twist.
What was the experience like working with Curses on Shadow of Love?
I have known Luca / Curses for many years. When working with Kristian on this instrumental, at a very early stage, we both thought of Luca being just the right one. How he nailed the vocals was even more than Kristian and I had hoped for.
You’re playing in Dublin this weekend. Do you have any fond memories of performing in Dublin over the years?
I love coming back to Dublin. Remember a show we had with Howling here many moons ago. It’s a special place. I like the commitment from the scene over in Ireland, and it’s great we can keep the connection through so many years. I’m excited to bring many old and new tunes and see how the dancers react.
Finally, what advice would you offer to up-and-coming artists?
Be free, follow your heart, focus on your work, and do what resonates well with you.
