Rødhåd, or Mike [real world name]is known for weaving a powerful tapestry throughout his creations, that is often described as melancholic.
In essence, techno is generally not a common go-to when trying to lift spirits and perk yourself up [with exceptions]. However, Rødhåd certainly isn’t one to ‘fake happy’. His realistic view of the world and himself in his production is very apparent, and quite enlightening. Many use music as an escape, and what’s unique about his style, is that it becomes more of an outlet to process emotions, as opposed to an escape to ignore them.
Mike’s journey to his modern sound began modestly (very much like his personality.) He and his friends had a party in a field, and when they tried for round two, attracted roughly 150 people.
Shortly after, he earned a semi-regular slot at Golden Gate in Berlin.
Next a residency at Zementgarten where he would make an appearance every four to six weeks. This residency was essential to learning the dynamics of club Djing, and his lengthy closing sets gave him plenty of freedom for experimentation and built endurance. He stated in an article on Resident Advisor that these marathon sets seem to come naturally to him, and feel more like a heavenly trip, granted needing roughly an hour or two to really start getting into it.
Currently, minimal techno is well, minimal. However, during his residency at Zementarten, minimal was big in Berlin. Veering away from it due to a lack of personal connection; Rødhåd began to experiment with different textures, eventually leading up to his ambient and atmospheric personality in his music.
In 2009 Rødhåd [+ two other Berlin locals] proposed a new night at Berghain, which later came to be the highly esteemed Dystopian party.