Few artists manage to carry their origins with them without letting those origins define them. WAVE WAVE, the Hamburg-raised producer and DJ who first made his name crafting hip-hop beats, has spent the last several years doing exactly that, channeling an ear for texture and unconventional sound design into some of the most focused club music coming out of Germany’s electronic scene.
His latest release, Rogue out now on Cr2 Records, marks another deliberate step forward: a dark, precise record built for the kind of venues where subtlety gets rewarded and energy is everything. With 1001Tracklists spotlighting him as one of the Future of Dance artists to watch, a string of releases across Diynamic, Experts Only, and SIZE Records behind him, and the forthcoming launch of his own imprint Waterized Records on the horizon, WAVE WAVE is at an inflection point. We spoke with him about his creative process, the German club scene, what it means to build something on your own terms and he shared some DJ Tips in the video below.
You’ve recently released “Rogue,” a dark Tech House anthem made for bunker-style club rooms on Cr2 Records. Tell us more about this release and do you always produce with a live crowd in mind?
I’m really excited that this one is finally out. I worked on it for quite a long time and tested it in almost every set last year. One funny thing about my process is that I often produce while watching big live sets from artists like Dom Dolla or Solomun. With every decision I make, I’m thinking: would they play this? Especially during periods when I’m not playing many shows myself, this becomes a useful way to simulate the club environment and make sure the track works on a dancefloor.
You come from a hip-hop background before pivoting to electronic music. Looking back, how much of that early foundation still shows up in the way you build tracks today?
Definitely a lot. I still love using hip-hop vocals in my tracks, and I often bring in breakbeat elements, especially in the breakdowns.Back when I was making hip-hop beats, I had a very similar mindset the weirder the sound, the better. I was also much more carefree back then, just creating for the fun of it. That’s something I always try to hold on to, because it’s essential for staying creative.
What was the moment that electronic music became something you wanted to pursue professionally? Was there a specific artist or event that sparked that feeling?
I was watching a lot of DJ sets at the time. When I first got into electronic music, tropical house was huge artists like Robin Schulz and Kygo were everywhere.I started out making that kind of music, but after watching more sets, especially from Solomun. I realized I wanted to move more into the club space. I also loved playing releases from Diynamic, which influenced that shift.
Hamburg has a strong and distinctive club culture. How much has growing up and developing as an artist in that city shaped your sound and your approach to DJing?
To be honest, in the beginning it didn’t influence me that much. Around the time I started producing electronic music, I had already moved to Berlin and was going out to clubs like Watergate. I actually missed a lot of Hamburg’s scene while I was busy making beats but looking back, I wish I had experienced more of that early movement. But now I feel like a bigger House scene is coming back which is so cool to see. We have great young guys who are doing great events like Points Apart or AOS.
What do you think of the German music scene in general? Is there a sense of community among producers and DJs? And how is the festival / club scene at the moment?
I think the scene is very supportive overall. There are a lot of established artists who genuinely help emerging DJs. For example, Marten Hørger has been incredibly supportive of me and continues to be.
You’ve released on some very different labels, from Solomun’s Diynamic to John Summit’s Experts Only to Steve Angello’s SIZE Records. What do you look for in a label when you choose it for your output?
For me, the most important factor is DJ support. If I release a track on Experts Only, there’s a strong chance that John Summit will play it and if he does, it often spreads to many other DJs. That kind of exposure is incredibly valuable right now.
You’ve been building toward the launch of Waterized Sessions as a visual reincarnation of your SoundCloud radio show. What’s the concept behind it, and what are your plans for it?
We have a lot of plans for the whole Waterized universe.
At the moment, we’re working on launching a record label, and we’re also preparing the second Waterized Live Session, where I’ll play around 15 unreleased tracks again. It’s all about creating a full experience around the music.
For producers and DJs just starting out, what’s the one thing you wish someone had told you earlier that would have saved you time, energy or doubt?
I wish someone had told me earlier that building your own fanbase and developing a unique sound matters more than chasing big radio hits. These days, fans want a genuine connection with the artists they follow and that comes from authenticity, not from trying to imitate someone who’s already established.
With the EP out and 1001Tracklists already spotlighting you as one of the Future of Dance artists to watch, what is the rest of 2026 going to look like for you?
That recognition was a great moment for me. Right now, I’m spending a lot of time in the studio, really focusing on developing my own sound which I’m enjoying a lot. And as I mentioned, we’re also busy preparing the launch of Waterized Records. I’m really looking forward to what’s next.