Max HeyraudCircuit Structure Records founder Offtrack reflects on the label’s evolution, from its inception to its current status as a key player in Ireland’s techno landscape. Ahead of the label’s 2nd anniversary, he discusses his creative vision, the struggles of being an artist in Ireland, his D.I.Y. approach, and his vision for the future of Irish techno.
Thomas Killmurray, better known by his moniker Offtrack, has been a guardian of techno in its truest form in Ireland since his early immersion in the loop-driven sound many years ago. Offtrack, a DJ and artist by nature, blood, and design, does things his way. He learnt to mix records under the watchful eye of his aunty Eliza, and his journey was founded on the traditional, raw, and functional forms of club music mixed on records. If you’ve seen Thomas DJ, you’ll know how deep he goes. A true student of techno, his vast knowledge of what to play, when to play it, and how to present it is rivalled by very few in Ireland—perhaps only by the godfather of Irish techno, Sunil Sharpe.
When it comes to making music, the same philosophy applies. Offtrack distils techno down to its essence: soulful yet minimalist. His early influences, including Robert Hood and Jeff Mills, are woven throughout everything he writes and releases today.
This dedication to authenticity naturally permeates his label, event series, and community-driven platform, Circuit Structure Records. When questioned about the name in a conversation we had about a year back, Thomas once said, “Everyone puts ‘Records’ in their label title, but half of them don’t release records.” He’s committed to making Circuit Structure a label that represents genuine, honest music—records that are thoughtfully crafted, not disposable. His goal is to create a timeless catalogue that speaks to him and others on a deeper and more personal level.
While we could easily discuss the label’s many accomplishments and Thomas’s goals for both himself and his imprint, as you’ll see, he doesn’t relish being in the spotlight. For him, this pursuit isn’t about checking off bucket list goals; it’s simply his way of life. He runs his label in the same way he lives his life: no fluff, true to form, music from the heart, and a constant commitment to giving back to the community. Offtrack’s vision is to create a sustainable ecosystem that shapes future sounds and spaces while remaining applicable to the genre’s roots and pushing it forward.
You recently posted on Instagram, highlighting a mock-up of the Circuit Structure logo and concept a few years back. Can you tell me a bit about this time and why you felt it was the right moment to form the label?
Firstly, thanks for having me again. It always feels good to chat and contribute to the Four Four imprint. Appreciate the opportunity and continued support!
So, answering your question. I think I know the mock you’re referring to. I recently stumbled across a rough draft of the label logo from November 2021—pen to paper, as I hadn’t yet ventured into graphic design. I posted it with a caption like “We have come a long way,” and it resonated with me, considering how much has happened since.
The label idea had been in my head since 2018 or 2019. I always knew what I wanted it to be; it was just a matter of fine-tuning the name, costs, design, and concept. It was never something I wanted to rush. Even now, looking back, there’s a lot I would do differently, but that’s life. We learn.
In November 2022, after a year of organizing the “Launch” release, the label went public. I selected mostly Irish artists, plus one Brazilian, all of whose work I deeply admire. Looking back, I can’t thank them enough for their contributions. Entrusting your music to a label with no history is a huge leap for any artist, but that was the groundwork to shape what CSR is today.
Can you share the story or meaning behind the name “Circuit Structure”?
My sound, my style, since the beginning, I’ve always felt invested and connected to more loop-driven techno, hypnotic grooves, locked grooves, and bleepy loops. The name itself—it took a while, but it had to reflect where I felt invested. The name was probably the hardest part. A lot of flicking through pages of a thesaurus until it clicked. I just knew.
Circuit—a synonym for “loop,” loops of many structures. That’s it, plain and simple.
Promoting Irish talent has been a key focus of the label, both in terms of music releases and events. Why is this important to you?
Yeah, for sure. We have a lot of talent here, but let’s be real—it’s a struggle. Gigs aren’t like they used to be, and things aren’t on the same level in cities like Amsterdam or Berlin. We have fewer venues, less scope for certain music, and more restrictions—the list goes on.
It seems a lot of what’s good isn’t popular, and what’s popular isn’t so good, but that’s just trends—they come and go. For me, it’s about recognising hard-working, talented individuals. I feel lucky to work with so many. Whether through the label or club nights, giving someone a platform to showcase their hard work is just as rewarding for me as it is for them. I feel like I was once there—and to be honest, I still am. When someone believes in you and gives you their platform, it feels good. That’s what it’s all about.
As for opportunity in Ireland, it’s lacking due to those same restrictions. So, being able to support my Irish colleagues in that way is important. I don’t forget those who’ve done it for me.
Let’s talk about CSR 001, the double pack. It was a defining moment for both you and the label. Where did the idea come from, and what was the intention behind releasing a pack of this size?
The idea for me, well, being a record label, it only makes sense to put out records. I think so much good music is wasted not being pressed—it gets lost in the digital world. CSR 001 was the debut vinyl release for the label. I had to start strong. Another aspect of this loops back to quality. I was never going to compromise the quality of the vinyl press and cram too much music onto the record. If they told me it had to be a triple pack for the best results, so be it.
The content itself—being honest, I think it’s too easy to make a track and just release it. Don’t get me wrong, there’s nothing wrong with that. But for me, the challenge of releasing an EP, LP, or larger collection of music and truly connecting the dots with each track gives much more meaning and purpose to the project. The intention here really was a statement of what CSR is going to be about.
You’ve organised a lot of events in a short period of time, in various locations. What’s behind the decision to jump around so much?
As I said before, we don’t have much opportunity when it comes to clubbing. It’s not bad—what we have is precious—but compared to other cities and countries, we still have a long way to go. That said, if an opportunity comes up, I’ll take it. I’m always looking ahead to those chances.
In places like Dublin and Berlin, I’ll continue doing the usual. But, if an opportunity to do something special in a place that wouldn’t usually have such an event arises, I see it as a chance to show people how it should be done. I’d like to think we have a reputation for doing things the right way, whether it’s sound, curation, or lights. I’ll never compromise quality.
A great example of this was the collaboration with Hardware in June, where we showcased Tresor in a theatre in Limerick—the first event of its kind in Ireland. People said it was their best clubbing experience here, and that hit home. Big thanks to Chaz and Dylan for that.
What are some standout moments from these various parties?
I did a string of CSR shows in Galway. Something resonated with me after two particular club nights. I had a face-to-face, all-night-long set with Dylan Fogarty, and we had Laura Van Hal for an Irish debut weekender. After the second gig, someone who was at both shows just said to me, “Thanks for bringing this to Galway.” It wasn’t anything special—I was just trying to bring something new to the table. It took me back and reminded me why I’m doing it in the first place. It’s those little things that stick.
Other standout things I can think of are just how it’s all made me feel. For a long time, I felt like I was really getting nowhere with it. CSR recently hosted the Black Floor in Renate Berlin. The curation was not only amazing talent but amazing people. The club usually closes around 08:00 a.m. Anyway, we were still going near 10:00 a.m. It was quite an emotional ending for me. 2024 in general, musically, has been an emotional ride. The level of connection compared to before has just gone up a level. It makes me appreciate every moment so much.
Circuit Structure has become a new-age bastion of Irish underground culture, serving as a home for traditional forms of techno while also inviting unsung heroes, underground legends, and rising stars to play under the label. How do you strike a balance when curating your lineups?
I don’t just do things for the sake of it, or to tick a box. I follow the word “curation.” No compromise on quality. That’s it. You can know me very well, you can be my best friend, but if you don’t fit the bill, what’s the point? There’s a time and a place for everyone. I truly believe this. The art of curation is a bit lost these days, for many reasons.
You ran a collaborative event with Limerick-based HARDWARE to host Ireland’s debut showcase with Tresor. How did this idea come together, and what was involved in producing the event?
Yeah, I still think about this one. Myself and Chaz had come into contact more often than before. He asked me to warm up his debut live set the previous December. Since then, I think we realized that our visions were very much aligned with what we were doing, so with this in mind, we knew we would end up working together one way or another.
With regards to how it came together, I had just returned from a gig in Berlin. I was on the phone to Chaz for something or other when it clicked. I have a Tresor sticker on one of my record shelves, and I just blurted out the idea. I wasn’t sure then if we would actually make it happen, but we did.
The event itself took a lot of effort—about six months of work. From the proposal stage right up to delivery, there were many variables: hundreds of emails, sketches, testing, liaison, finances, and travel. The build itself took nearly two days. We have to credit the venue and the teams behind the various aspects of production; without them, it wouldn’t have been what it was. We knew exactly who and what we wanted for each element, and without that clarity, it wouldn’t have worked. For something of this scale, I wouldn’t work with anyone other than Sol Barnes. If we couldn’t get Sol, we knew we’d be in trouble. He had the sound on point—an absolute professional.
How did you feel after the event? It was a colossal achievement, and it exceeded expectations—at least mine. What was your takeaway from the experience?
As you said, it exceeded expectations. What I took from it, though, is that I think I proved to myself—and hopefully to many others—that things can be done the right way. Many people told me that it didn’t feel like an Irish club night.
We are faced with many restrictions, but why not work with what we have? That event ran from 15:00 to 00:00 in a venue otherwise used for theatre. If we can’t open past 02:30—or in this case, past 00:00—why not open early? I think collectively, not just as a promoter or label owner or whatever, but as a punter, initiatives like this need to be supported. Until things change, we need to adapt to overcome.
If we as punters can support initiatives like this, more initiatives like this will pop up. People are afraid to take the risk—let that not be the case. But in saying that, if you give your punters a reason to trust you, they will buy tickets. It works both ways.
Can you share any upcoming projects for the label, whether it’s events, releases, or something else?
Event-wise, we have our 2nd birthday tonight. Free in, Pawn Shop Bar Floor. Bare Knuckle crew downstairs in the basement too! It’s gonna be a great one!
On December 23rd, we’re collaborating with QS1 in Wigwam Basement—I really can’t wait for this one. I’ll play b2b with my Aunty Liz (Eliza) in what we think is the first time in about eight years. Good pals Josh and Lorenzo (Npoint_O) will be representing QS1. If the current movement is anything to go by, it will be sold out shortly.
Other than that, it’s pretty quiet for CSR gigs. The weekends are occupied with a couple of other shows. I’m working on the next ‘Nexus’ initiative that was set up last August. More on that soon.
With regards to releases, we have some pretty exciting stuff to launch in the coming weeks. CSR 003 and CSR 004 are both locked in. Amazing Irish talent for 003 with a special twist to accompany the record, and 004 features really wicked techno from Glasgow.
This Friday, you celebrate two years of the label at Pawn Shop. Looking back, what do you think you’ve accomplished in this time?
In terms of accomplishment, I dunno. I try not to think of it like that. Eventually, you run out of things to accomplish, or else it just becomes too repetitive. I try to think of what it does for me? What does it do for others? I like to think it gave me a platform that enabled me to do what I love at another level. It gave me a series of challenges. I suppose I could say overcoming them is an accomplishment, and so long as I can keep doing that, things will be good.
With regard to others, I like to think the label has enabled others to overcome challenges, deliver true art, and enjoy the experience while doing it.
What sort of records are you packing for the event, and how are you preparing for your four-hour stint upstairs at Pawn Shop?
Well, it’s four hours, so I will have many. Two packed crates, kind of separate stages of the night. I have no set way for it. Four hours is a decent allocation of time to work with, so once I know what I’m working with, the set can go anyway I want.\
If you could describe your mission for Circuit Structure in three words, what would it be?
Shape The Future.
Offtrack celebrates two years of Circuit Structure tonight at Pawn Shop with a four-hour set, and entry is free.
