Kalipo has long established himself as a key figure in the electronic music scene, with releases on prestigious labels such as Ki Records, Audiolith, Get Physical, and Iptamenos Discos. Widely known as a member of the legendary electro-punk band Frittenbude, which has been shaping German subculture since the 2000s, and as a co-founder of dark disco trio Dina Summer alongside Local Suicide, the Berlin-based producer and multi-instrumentalist continues to push boundaries with his distinctive sound.
With his latest single “All Things Must Come to an End” offering a taste of his forthcoming fifth solo album “Alles”, Kalipo opens up about his artistic evolution and return to his electroclash roots. Born from melancholic post-club crashes yet carrying a bittersweet lightness, his current “Psychedelic Disco Punk” sound authentically navigates between club culture and indie aesthetics. In this candid conversation, he reveals how Berlin’s underground culture continues to shape his music, his approach to balancing multiple musical identities, and why following your instincts trumps commercial success in today’s rapidly evolving music landscape.
1. You’ve been producing for almost two decades now, from more melodic to a fierce indie electroclash – your music style has evolved from your early days. What was the inspiration for the shift that led to your fifth solo album “Alles”?
In a way, my current sound is a return to my roots. Back in the early 2000s, my music already had strong indie and electroclash vibes, influenced by the Munich scene and labels like International DJ Gigolo. Later, with Frittenbude, we really pushed the boundaries between electro, indie, and rap. That mix felt like the essence of the 2000s to me, an intense time.
Kalipo started as a reaction to that energy, the first album was much more mellow and melodic. But I get bored repeating myself. So with “Alles,” I tried to fuse that melodic depth with a rawer, punk-inspired sound. The old Berlin scene was a big influence, when punk started bleeding into techno. That’s the space I wanted to explore again, but with a new lens and maybe a little more craft. Sometimes I call it Psychedelic Disco Punk.
2. The album features you singing in both German and English about “letting go of inner fears, relationships and everyday burdens.” What made you want to explore these more personal, introspective themes this time around? Is there a personal story behind the album?
Absolutely! This album is much more lyric-driven. I kind of rediscovered my love for writing lyrics, or maybe the lyrics just found me. For example, the title track “Alles” started as a freestyle I meant to replace later, but it stuck.
I didn’t consciously set out to write about fear or letting go. It happened subconsciously. I went through a major personal shift, and that naturally came through in the music. So it’s about growth, change, depression, but also love.
3. Between Frittenbude, Dina Summer, and your solo work as Kalipo, you’re incredibly versatile in your music and production. How do you balance these different musical identities, and what does each project allow you to express?
That might be my ADHD at work! I’m always jumping between projects. But if you listen closely, my musical handwriting is in all of them. Of course, Strizi’s vocals in Frittenbude or Dina’s voice give each project its own identity.
I love switching things up. Frittenbude, for instance, moves freely between genres, which might be a challenge branding-wise, but for me, music has to be about passion and freedom. That’s also what “Alles” stands for: trying everything that inspires me, without limits.
4. You describe your music as existing “between club culture and indie aesthetics.” On “Alles,” how do you navigate that balance, especially when you’re creating both original versions and club versions of tracks?
I come from songwriting. So for me, it’s about creating songs that stand on their own. The album should work as a full piece. But since I mostly play clubs, I also make versions that are more DJ-friendly, more focused on movement.
I enjoy telling stories in my live sets, building tension, releasing it, weaving in both calmer and more intense moments.
5. As a multi-instrumentalist, what’s your current studio setup like? Do you still rely heavily on hardware, or have you embraced more of a hybrid approach with software?
Honestly, it’s “Alles.” Some tracks are made entirely with analog gear in the studio, my Moog and Prophet 5 still inspire me every time. Others are written on a laptop at home on the couch.
The most important thing is the idea. Depending on where I am, I just work with what I have.
6. How has your production workflow evolved with changing technology? What do you think of using AI tools?
What AI can do now is wild. I use it occasionally for inspiration or for generating samples. But I also find it frustrating, it feels random, and it can actually take longer to get what you want.
If you’re after something unique, AI often isn’t much help. It tends to flatten everything. That sameness gets boring fast. And it can make you stop trusting your own instincts. If you’re constantly second-guessing lyrics with a tool, you risk losing the personal touch.
7. You’re described as Berlin-based – how has the city shaped your sound over the years, and do you hear Berlin’s influence in your new album?
Absolutely. I’m especially drawn to the older Berlin sound: Malaria!, Einstürzende Neubauten. There’s something dark and subversive there that shaped me.
And of course, the club culture here has always been a huge influence. The city constantly offers new inspiration. That’s where the sound comes from and where it belongs.
8. As you evolve musically, how do you balance artistic growth with maintaining that connection to your fanbase?
I’m sure some people prefer the more melodic stuff, others the more energetic tracks. But I hope people can still hear the passion and recognize a thread running through it all.
Music works differently in different moments. Genre doesn’t really matter, it’s about whether something feels honest. My only real benchmark is: does it give me goosebumps? If it does, I trust it.
9. You’ve successfully maintained relevance across different eras of electronic music. What advice would you give to producers about staying current while developing their own unique voice?
The music biz hasn’t gotten easier. You really need to trust your gut and stick with it. It takes obsession and long-term commitment. Sure, quick success can happen, but it’s like winning the lottery and might not last.
What helps is connecting with others, building a crew, and pushing your own vision. But don’t do it for money. Do it because you love it. Release your music yourself. Play live. Travel. Build a network. Just keep moving.
10. You have an extensive tour planned through the fall. Can we expect more live performances or will you also be DJing at some events?
The fall dates are all planned as live shows. Sure, there’ll be club vibes, that’s part of the music! But I want to bring more intimate energy to the stage. More vocals, more live moments. A concert with highs and lows, songs that breathe more than a typical club set.
Listen & Pre-Order the album here