Max HeyraudWith her fifth solo album, Half An Owl And A Full Moon Rising, released on Dekmantel, Steffi reaffirms her commitment to timeless club music, artistic independence and the unifying power of the dancefloor.
Steffi Doms, better known as Steffi, is basking in the glow of her fifth solo studio album, Half An Owl And A Full Moon Rising, a masterclass in genuine, timeless club music. Drawing on decades of experience commanding some of the world’s most lauded dancefloors and releasing genuinely iconic records, Steffi possesses an aura, a feeling, an approach that can’t be taught in an online masterclass or explained in short form. Not even close.
A student of house and techno’s old guard, she has spent years studying the legendary DJs and records that emerged from Chicago, Detroit, Rotterdam, Berlin, Paris and beyond, all the while crafting a style and imprint entirely her own. Never concerned with ticking boxes, chasing trends or paying attention to the fleeting shifts of a scene to which she has devoted her life, Steffi retains a level of poise in a culture that seems to grow more fragmented and noisy by the day. Instead, she strips things back to the fundamental necessities of what brings people together on the dancefloor, what gives a great record its soul, and what those two things can do for people. It’s something that extends far beyond music.
Her latest album bears witness to that all-encompassing feeling. “That is the f***ing ecstasy — you’re going home, and you’re like, ‘God, I’ve been places’,” Steffi says. She makes no secret of her disdain for the negativity that circles club culture like vultures around a corpse, but she is equally passionate about championing new artists, holding a torch for emerging talent even in the darkest of nights. Above all, when the needle hits the record, and the smell of the wax fills your nostrils, you know instinctively that this is a Steffi record: the work of a timeless artist who isn’t paying lip service to the tropes of modern club culture, but remaining steadfast in her own vision of what it can be.
Let’s start with the album. An amazing record – congratulations. I know you wrote over 40 tracks and eventually reduced them down to nine. Can you talk me through that process? Were you writing specifically in “album mode,” with the record in mind from the beginning, or were you simply making music and gradually discovering what the album was going to become?
I always write on the sofa, on planes, in a hotel, in the studio. So there are a lot of sketches that never get to see the daylight. It’s just for me to express my ideas and use my creative energy. When I decide to write an album, I lock myself in and write with a clear concept. I know in advance what kind of album I want to write, and this way I create a nice bubble for me to lock myself in.
This is your fifth studio album. How did the process of making this one compare with your previous albums? Do you notice yourself changing as an artist over time, particularly when it comes to writing in a long-form format like an album?
The album is very much rooted in music made for the dancefloor, but it still has that classic Steffi depth, swing and soul that often characterises your music. I know you’ve also made a lot of experimental music over the years, too. What made you want to make this a dancefloor-focused record?
When I wrote my 3rd and 4th albums, it was necessary for me to drift away from the straight-up dancefloor idea and connect to my more experimental side. I really needed to explore this and took my time to do so. Last year, I wrote a new house album with Virginia, and this was the perfect invitation to come back to writing dancefloor music. I really enjoyed the positivity of the process, and it was infectious to stay in this mode, so I decided the next solo album was going to be a continuation of this vibe.
You’ve been extremely active on the DJ circuit for many years. How much does the dancefloor inform the way you make music?
I don’t really cater to a crowd when I write music. Of course, by being a part of the electronic music scene for such a long time, I have built up an enormous collection of music, but I don’t like to commit myself to one genre, both as a DJ and a producer, so I just go with my own flow and mood at the time. It’s a bonus when my music gets played on the dancefloor, but it’s not a goal for me at all.
You’ve spoken before about wanting to take people on a journey when you DJ, rather than catering to increasingly short attention spans. Did that same idea inform your willingness to make an album that is so deliberately dancefloor-oriented?
When I write music, it’s about vibe and not about hype. In the end, it’s just my own interpretation of a dancefloor album. Somebody else might need something more banging or stripped down. That’s very subjective in the end. I like the hypnosis in music and the storytelling, whereas others want a straight-up beat and not much around it. There is freedom for everybody to choose what they like to listen to. I don’t think people need to listen to a certain type of music just because I think that’s the right genre or right representation. It is up to us to bring our own version of what we think is meaningful and do that in the best way. I leave that up to the receiver to decide if this album has done the job for them. I just go with what feels right for me, nothing else.
The album’s press release talks about a world that is becoming increasingly troubling and divided, and suggests that some kind of cure can come from the dancefloor. Without getting too deep into the politics of the moment, do you feel that the dancefloor is more necessary now as a unifying space than it was at other points in your career?
I do, actually, because there is a lot of extra noise around the music and club scene that we seem to be very influenced by at the moment. Social media or platforms like Reddit, for example. People are very opinionated without looking at the consequences of venting their criticism on others’ work. I feel there is a lack of responsibility and awareness of how you actually pollute your own scene with this negativity. In the end, it is about unity and appreciation of what we have and about what we are about to lose if we don’t keep creating spaces where you can just lose your mind and be free and enjoy music.
You’ve seen rave culture evolve through enormous technological and cultural changes. What do you think has remained completely unchanged?
Your personal happiness that all of this brings you!
When you’ve spoken about the power of a great party or DJ set, you described that feeling of going home thinking, “God, I’ve been places.” What do you think are the ingredients that create those moments, both from the music itself and from the space, crowd and environment around it?
For me personally, ideally a place without phones or the option to film or take pictures. The concept of being in the moment is one of those endless debates. We are dealing with a generation overlap now. People who were born with a phone in their hand have a different reality than people who grew up in the analogue world. I had to really learn how to deal with this and still be able to focus on bringing my flow to the dancefloor. When it comes to music, I like to be taken on a ‘feel factor’ journey where it’s not about firing the sure shots and creating fatigue, but to stretch and explore.
The press release describes your approach to the album as “honest, no-fluff productions.” There’s a very classic feel to the record, but it never feels like you’re leaning on obvious old-school tropes. At the same time, there seems to be an increasing obsession within electronic music with creating sounds that are new or novel, sometimes at the expense of substance. Would it be fair to say that this record is, in some ways, a rejection of that idea, that you’re more interested in making something that has depth and longevity than something that simply sounds new?
Depth and longevity. What more would you want in life!
You talk a lot about “not changing” for anybody. Where does that instinct come from? Do you ever feel pressure from the industry or from changes in the culture to adapt your approach, or is staying true to yourself more of a personal or moral code as an artist?
I never felt pressure to change myself or make concessions to changes in this music industry. I live on my own island. Oh no, wait — to be fair, I did with Instagram [laughs], because a few of my artists pointed out that the records I release on my label should also be visible somewhere at some point so the artist is well represented. I thought that was a fair point to make me have a look at it. Other than this, my mind is very strong, and the choices I make are based on: does it fit my narrative, and do I feel comfortable with it, yes or no, more than anything? A lot of the time, that answer can be a no, but it’s because I don’t have a desire to kiss somebody’s ass or play in a lineup where I feel my music would not fit.
I also wanted to talk about Dolly. I honestly can’t remember the last time I played a set without at least one track from the label. You’ve consistently platformed what I think is some of the most interesting modern techno. Was creating a platform for the next generation of artists always part of the goal with Dolly?
In 26 years of running a label, I am happy to say I have never released something because of hype or success. All the records I was allowed to send into this world are a labour of love, as they say. I like to keep evolving and discovering pockets of the scene and expanding the catalogue. The most rewarding for me is to feature artists that aren’t per se a hype or a trend. With the latest sub-series, Dolly TS, I really wanted to connect to younger artists, and the pandemic was an excellent time to do my homework and investigate. I love endless searches on all the platforms to see what’s out there and make an effort to dive deep. Any DJ who states there is no good music coming out needs to take responsibility and work harder because there are so many talented people out there working so hard!
At this stage of your career, do you feel a greater sense of responsibility to platform newer artists? And do you think artists who have built an audience have a responsibility to use their voice to help bring the next generation through?
A big YES and YES! When you have built a platform and established yourself, it’s time to look at being of service and giving back. Create options for others that need to be put forward. New talent should be supported and put forward because, at the end of the day, somebody also did this for you, so now it’s our time to share the light with others.
And then there’s Dekmantel. What’s your relationship with the label and festival like? When did that relationship begin, how has it evolved, and what makes it feel like such a natural fit?
I have known Dekmantel for a long time. I have played on many different editions on various stages over the last few years. They really feature the diversity in me as an artist and move along with me where I am at creatively. That’s a very rare and valuable connection. When Interstellar Funk became the A&R manager and contacted me about music for their label, that was a no-brainer for me to jump on board. It has been a great joy to work with them and get total creative freedom.
Coming back to the album to wrap up: what do you want this record to say? After everything you’ve put into it, what do you hope people take away from it, whether they experience it on a dancefloor, through a DJ set, or simply by listening at home?
You said it just there: experience it on a dancefloor, through a DJ set, or simply by listening at home!