Max HeyraudTresor resident and SPELLBOUND founder Shaleen transforms analogue sound into deeply personal, techno, blending 90s nostalgia, modular experimentation, and a commitment to inclusive club culture.
Shaleen is an artist whose work goes beyond the dance floor, standing at the nexus of sound, emotion, and cultural movement. Her journey is one of continuous evolution, rooted in the raw energy of analogue expression and motivated by a profound respect for the origins of techno. Shaleen creates a sound that is both nostalgic and forward-facing from vinyl-only sets that capture the essence of the 90s to innovative live performances moulded by modular experimentation.
Her presence extends far beyond music alone. As a resident of iconic clubs, a label founder, and a catalyst for inclusive cultural spaces, she embodies a new generation of artists redefining what techno can represent. Whether through deeply personal releases, boundary-pushing collaborations, or her commitment to amplifying underrepresented voices, Shaleen’s artistry is inseparable from her values.
Congratulations on the debut EP on your label, SPELLBOUND. This feels like a long time coming. How are you feeling as it edges closer to its official release?
Thank you! It really has been a long journey. I actually produced the tracks five or six years ago, so finally releasing them feels surreal. It’s an exciting but also intense time. I was touring Asia during a crucial phase of the release, managing everything remotely with a seven-hour time difference. I’ve only been back for a week and haven’t had much rest yet, but sometimes you have to sacrifice a bit to create something special.
Can you expand on the name “Treatise On A Narcissist”?
It’s meant a bit like a scientific treatise, almost like writing a thesis on narcissism. There’s some sarcasm in it, but it’s also very real. I spent so much time researching and reading about the topic that it almost felt like completing a degree in it.
The release has been described as “deeply personal.” Can you tell us a bit more about that? I processed a lot of emotions and experiences while making these tracks. For me, there’s nothing more personal than expressing what you feel through music. It was one of the most intense periods of my life – I was going through a very difficult breakup while also learning a lot about trauma, both in the other person and in myself. One of the biggest lessons was realising that I can’t change someone else, but I can work on myself and on what I want for my life.
The remix choices are great, some of my favourite techno producers in the game currently. What drew you to these particular artists for this release?
Thank you! They’re some of my favourite producers as well, which is why I asked them to remix the tracks. I was very happy they were open to it. Beyond being incredible artists, they’re also great human beings, and that’s something that’s very important to me.
You’re a resident at Tresor Berlin & Tresor West. How did that come about, and what’s your relationship with Tresor generally?
Tresor has been an important place for me for many years. Becoming a resident happened quite naturally over time through playing there and building a strong connection with the club and the people behind it. It’s a place with such a deep history in techno, so being part of that family means a lot to me.
How do you feel about the Berlin club scene in 2026?
I actually had a bit of a “party girl comeback” in 2025. I hadn’t been going out much for a few years, but after my latest breakup (very healthy relationship tho xD), I started spending more time on the dancefloor again. I have to say I haven’t had this much fun in Berlin clubs in almost ten years. I danced through a lot of Berghain closings, heard amazing music, and met incredible people. To me, the scene feels very alive and quite relaxed right now.
You’ve been in the city for quite a long time. How has Berlin’s club culture changed over the years? There have definitely been ups and downs, but I’ll always love Berlin. What we have here is very special, and for me it’s still the best city in the world for music and club culture. People often say Berlin is “dead” or not what it used to be. Of course, things change; the city is constantly reshaping itself, but I don’t agree with that sentiment. Every time I travel for shows, I’m always happy to come back home.
I know you’ve mentioned that SPELLBOUND aims to highlight underrepresented social and cultural issues. Can you expand on that?
A core idea behind the label is to bring attention to social and cultural topics that we feel are often underrepresented. Each release explores a specific theme creatively through music and other forms of art. At the same time, we want to extend that exploration into a more discursive space by collaborating with artists and opening conversations around these subjects.
Do you think techno is inherently political?
In a way, yes, but not in terms of party politics or ideology. Techno was born from communities creating spaces where people could exist freely, outside the norms and pressures of mainstream society. In cities like Detroit, and later Berlin after the fall of the Wall, it grew into a culture where people from different backgrounds could come together on equal ground.
The politics of techno have always been about creating space — space for difference, for expression, for connection. At its core, techno is about unity. When it brings us together, it strengthens the culture. When it divides us, something essential is lost.
Club spaces were meant to be places where we gather, not where we turn against each other. The roots of this culture are grounded in community: finding each other, listening to each other, and making the effort to understand perspectives beyond our own.
How do you feel about techno currently, and where do you see it heading?
Unpopular opinion, but one thing that concerns me nowadays is that what is essentially the new EDM is often being labelled as “techno,” even though it’s quite different from what many of us understand as techno culture and music. I think it would be healthier for both scenes if they were recognised as separate rather than merged under the same label.
You were at the centre of a pretty intense wave of misogyny when you posted your HATE Mix. What was that period like, especially as it unfolded publicly online?
After everything I’ve experienced before, I honestly didn’t take it too personally. It felt less about me and more about people being uncomfortable with a woman expressing her freedom. For me, it became an opportunity to open a long-overdue discussion about misogyny.
Interestingly, the criticism mirrored issues I had experienced in this toxic relationship; my upcoming EP is about discussions about how I should dress or what is “appropriate.” But my style and self-expression are simply who I am. The reaction also showed the double standards very clearly. As my colleague Kim She pointed out, meanwhile, men can appear with far less clothing and no one says a word, but when a woman does it, it suddenly becomes controversial. Instead of defending myself, I wanted to highlight this contradiction and show how easily a simple image can spark a wider conversation about women’s roles and expectations in public presence.
Do you think misogyny in techno is often overlooked?
For a long time, it definitely was, and it still is, of course, we still live in a patriarchal society. But I do feel we’re moving in the right direction, especially as more people speak out about problematic behaviour. It’s important that we support each other and share our experiences. At the same time, it’s not about attacking men, it’s about addressing behaviours that have been tolerated for too long. Patriarchy also puts pressure on men.
Opening dialogue and understanding each other, and moving together in the same direction, would benefit everyone.
If you could change one thing about club culture, what would it be?
I believe culture evolves the way it needs to, but we all have a responsibility to make our spaces as good and aware as possible. For me, the most important thing is unity, listening to each other, opening discussions, and not just turning against one another. Techno culture was built on bringing people together, not separating them.
Photo Credits: Kane Holz
