Max HeyraudOperating largely outside the spotlight, Newcastle’s Hurdslenk has carved out a reputation for raw, timeless techno that carries the spirit of the ’90s and early 2000s into the present day.
Hurdslenk has been one of techno’s unsung heroes since emerging around 2022 as a visceral force, channelling the aesthetics of the ’90s and early 2000s through a distinctly modern lens. Early outings on Insolate’s Out Of Place and Ben Sims’ Hardgroove quickly set the tone for an artist who is most certainly not fucking around.
In a moment where “groove techno” and countless crass “hardgroove” knock-offs dominate the conversation, Hurdslenk arrived with a sound that feels less like imitation and more like continuation. Rather than cheaply mining nostalgia, his music carries the spirit of that era forward, tape-saturated, gritty loops, drums compressed to the brink, rough edges intact. Back then, much of this music came from artists operating slightly off the grid, and those imperfections gave the records their character: a sense of mystique around how the tracks were made and who was behind them.
It’s easy to romanticise that period now, but there’s a reason it resonates. In contrast to today’s environment, where every track is dissected, explained and squeezed into the machinery of content, the DIY, non-perfectionist approach of that era holds a certain allure. Hurdslenk feels like someone continuing that lineage. Largely staying out of the spotlight, he crafts high-grade techno artillery with both precision and personality.
His catalogue reflects that consistency. Releases have landed on some of the most respected homes for refined, classic techno: Freddy K’s KEY Vinyl, Vault Sessions’ Vault Records, the latter delivering one of the strongest EPs of last year, Lisbon’s revered Hayes, and more recently Steffi’s coveted Dolly label. Yet despite a relentless stream of quality output, Hurdslenk remains somewhat on the periphery of the wider techno circuit, operating with a quiet confidence. It’s a shrewd approach: let the music do the talking, and it speaks volumes.
We first wrote about you back in 2022 when we premiered your track Sands on Insolate’s Out Of Place label. A lot has happened since then. Congratulations on all the success. How has life been over the past few years?
Ah, yes, I remember. Thank you so much for premiering “Sands,” which was taken from my first solo EP. Although it was released in 2022, the tracks were actually written and produced over a year earlier. Looking back now, it feels like a long time ago. I’m happy to say life has been good since.
Your CV is about as decorated as they come when it comes to contemporary techno imprints: KEY Vinyl, Vault Records, Hardgroove, HAYES, Sublunar, and now Dolly. Would you consider yourself a prolific producer?
I’ve been following techno for many years, long before I began producing, so having the opportunity to release music alongside some of my biggest inspirations is far beyond anything I could have first imagined.
I wouldn’t consider myself a particularly prolific producer by today’s standards, and I don’t sit on a large amount of unreleased music. Production isn’t actually my full-time job, so finding the hours can be challenging and has required more sacrifice than I probably realise at times. I suppose it’s proof that slow, steady, and consistent work still pays off.
Tell me a bit about how the Dolly release came about. It really feels like a match made in heaven.
I believe Steffi first heard my music following the releases on Key Vinyl and Hardgroove and then reached out. That in itself meant a great deal. I have immense respect for the music and artists who have featured on Dolly, so being invited to contribute a new EP feels like a real honour.
Were the tracks made within a similar time frame? And was there much back and forth between you and Steffi while refining them, or did it come together quite naturally?
I sent over some demos a while ago, and Steffi offered some helpful feedback for a few of the tracks. Then last year, I shared more material, and we were able to finalise the EP. The process felt fairly natural overall, and I’m very pleased with the final result.
Your tracks have a very timeless quality to them. Is that something you consciously aim for, making music that still sounds fresh years down the line?
That’s really nice to hear, thank you! When I make music, I really don’t consciously aim for anything. I have inspirations, of course, and I’m sure that is what ultimately shapes my sound, but I don’t really think about it when I’m in the zone, making beats. In fact, the less I think, the better and faster the results.
Can you talk us through your studio process? Your productions have that early-2000s grit. Are you working with a lot of outboard gear?
I have a number of pieces of hardware that I have collected over the years, and I use those to generate sounds/rhythms and initial ideas. I prefer the hands-on approach and the extra colour you are able to give sounds when using hardware. I don’t really have a set structure when creating ideas, and it can get pretty random at times. I think this reflects in my productions, as rarely do my tracks sound the same.
I use Ableton as a sampler and arranger to finalise and try to make sense of the madness. I use some Ableton stock plugins for mixing and effects
I read on Instagram that your first time ever in a Berlin club was actually playing at Freddy K’s KEY Vinyl party at Else. That surprised me. What was that experience like?
Yes, that’s right. Berlin was a place I’d heard so much about (obviously!!), but I’d never actually had the chance to visit. After my first release on Key and with a second on the way, Alessio reached out and invited me to play at the Key Vinyl party at Else. I can’t thank him enough for the trust and belief he showed in me by asking me to represent his label in Berlin. Of course, I felt the pressure, but it turned out to be such an incredible experience. It’s a moment I still look back on with great memories.
You’ve also played at Tresor, a space that really seems to match the aesthetic of your music. How was that for you?
Shortly after that, K92 invited me to play a New Faces night at Tresor. The concept was that each artist would only play their own productions, so to say it felt surreal would be an understatement. Tresor is such a powerful space – its history, its atmosphere, and that all-encompassing sound system. To be given the opportunity to showcase only my own music was a real honour. It felt like a special moment in my journey. Huge thanks to K92 label as well – creating real opportunities for production-focused artists for a while now.
You haven’t really played the social media game. What’s behind your decision to stay relatively distant from it?
Social media has definitely opened doors for me over the years. It’s helped me build connections and stay in touch with what’s happening across the techno scene. I’ve also been able to see my music supported and played at events I might never have discovered otherwise, which I’m really grateful for.
At the same time, I’m aware there’s an expectation now to constantly post and stay visible. I’ve made a conscious decision not to let that dictate how I move. For me, the music has to be the driving force behind anything I achieve. That might sound a bit old-fashioned, but it’s important to me that whatever grows, grows organically and for the right reasons. I’d rather focus my energy on the studio and the craft than on chasing algorithms.
This is your first interview, at least from what I could find, and your online presence and commentary are very minimal. You come across as a bit of an enigma. Is that a conscious choice?
I can understand why I might come across as an enigma. In a world where visibility is everything, stepping back naturally creates a bit of mystery. It was never a strategy – it just happened that way. But I’m comfortable with it. When it comes to music, especially electronic music, I think a little mystery adds something. It leaves more space for the sound to speak for itself.
How do you feel about techno right now, artistically and culturally?
The word “techno” seems to be used very widely now. Like anything, I think you have to dig a little to find the good stuff. Of course, there are trends and hype where a particular sound becomes more popular, but there’s always variety if you know where to look.
Culturally, techno still carries an incredible energy and sense of community. It’s one of the rare spaces where people from all walks of life come together purely for the music. That shared connection on the dancefloor is what keeps it alive and inspiring for me.
And finally, are there any changes you’d like to see in the scene going forward?
It would be nice to see more focus on smaller-scale promotions. Local nights, like Balance in my area, remind me how important it is to build a community around the quality music we all love. These promoters aren’t in it for the money. They deserve respect for what they’re trying to achieve. If there’s a local night near you, try to pay them a visit when you can; that’s what this is all about.