It was a Franz Scala remix, heard while living in London, that sent Radondo packing for Berlin and the city has shaped everything he’s made since. He found his footing through Slow Motion Records, becoming one of the label’s most trusted family members as a resident, releasing artist, and self-described lucky friend of label heads Franz Scala, Fabrizio Mammarella and Giulia Gutterer, while building a sound that blends Italo disco, EBM and experimental rock, with dystopian cinema and the ghost of Andrew Weatherall never far from the mix.
His catalogue tells the same story of collaboration – a UK debut with Blossom Hill and Wilson Bradbury, ongoing studio sessions with Bradbury outside London, and the recent Final Shift EP with Madd Rod on Inner Shah Recordings, built from ideas the pair first sketched three years ago. Earlier this year Radondo made a Panorama Bar debut opening Italorama alongside Gutterer, a night he calls one for the memory bank.
Now, with a debut album and a new live project alongside Neu-Romancer on the horizon, we caught up with Radondo to talk cinematic influences, Berlin’s cyclical nature, and the advice he’d give to anyone trying to find their footing in the city’s scene.
Check out Radondo’s Guest Mix for In The Basement here.
You’ve become closely tied to Slow Motion Records, both as a resident and as a releasing artist. What was it about the label and its parties that made you want to become part of that family, and how has that relationship developed?
I had always heard flashes of Slow Motion’s sound but it wasn’t until I heard a remix from Franz Scala that I knew it was them. I was living in London at the time and as soon as I heard Franz and Fabrizio Mammarella’s music I knew I had to head to Berlin to experience their parties and meet them. Their parties are always filled with so many kindred spirits and the best music out there. Giulia, Franz and Fabrizio were instantly so welcoming and supportive from the get go. They have supported my music since day one and I’m so very grateful to have them as dear friends. We have collaborated on music and I lend a hand with the label. It’s a real dream to work with such incredibly talented people with such clear vision, kindness and unwavering sonic identity.
Your productions weave together Italo Disco, EBM and experimental rock with nods to post-punk and dystopian cinema. Where did this specific combination of references come from, and is there a particular film or era of cinema that keeps finding its way into your music?
It was a blend of what I perceived as Italo disco and guitar led indie music that kicked it all off me. I remember first hearing Lauer’s remix of the sadly now late producer Phil Gerus’s track ‘Still Blind’. It was a big turning point for me when I first heard this, that feeling I first had has been something I look to follow. Cinema wise it’s been a lot of things that Jonny Jewel has been involved in, Lost River, Bronson etc.
Your recent EP “Final Shift” came out on Inner Shah Recordings. How did the collaboration with Madd Rod first come together, and what was the process like turning it from an idea into “Final Shift”?
I met Rodrigo around 3 years ago when I first moved to Berlin. We instantly hit it off and began working on some ideas together. This was one from that time that we took off the drawing board and gave some more love. Rodrigo has also been a big supporter of my music ever since we met.
You grew up in the UK but have built your career in Berlin. How did the move shape your sound, and do you still hear any distinctly UK influences in what you make now?
Berlin’s incredible open minded ethos and supportive nature really helped me to build the confidence to lean into my sound. As said, Slow Motion’s parties and approach to music really showed me to trust this. The legend that is Andrew Weatherall has been a big influence ever since I first saw ALFOS in London. This approach to broadening the shades between genres and leaning into the spookier, arcane sounds found in Italo/New Wave really resonated. Ghost Culture’s work is still a big inspiration which leads onto Daniel Avery’s Album Drone Logic and Richard Fearless’s mind bending work are big UK ones for me. One of my first releases was on the UK Label Loose Fit Records, led by the powerhouse that is Blossom Hill. This was co-produced with dear friends Blossom Hill & production extraordinaire Wilson Bradbury. I have been collaborating with Wilson ever since this EP, often at his beautiful studio in Adlestone just outside London. I couldn’t be more blessed to have met these wonderful people who helped to kick it all off.
Berlin has been going through a lot of changes recently. What do you think of the current state of Berlin’s scene compared to when you first arrived?
Berlin to me always feels much the same. Things can change quickly here, clubs close and re-open etc but the everpresent dedication to the craft remains a constant. There is a cyclical nature here which keeps the hope up when things are more on the ebb than the flow. People are always so open minded and tap into the shared openness when moving here. This for me makes it feel like a perfect breeding ground for creating and sharing things with others.
You debuted at Berghain’s Panorama Bar alongside Giulia Gutterer. What was that experience like, was playing at such a renowned venue everything you imagined?
It was incredible. To be playing with one of my heroes and dear friends in such a legendary space & party was truly mind blowing. A real dream came true. We opened this edition of Italorama and it was a smooth ride throughout. Giulia’s selections and otherworldly ability to instantly ignite a floor is a constant inspiration so I was very grateful to be the co-pilot. I’ll live off that memory forever.
You’ve recorded a guest mix for our In The Basement series, we can’t wait to listen to it. What was your approach or concept going in, and is there a particular mood or journey you wanted to take listeners on?
I wanted this mix to illustrate the feeling I aim to follow when creating and DJing. I looked to reflect the mood when in the studio and share a few releases along the way. Thank you again for the wonderful invite!
Where do you tend to source the music that ends up in your sets? Do you still go to record stores or do you do your search mostly online?
I’m lucky to say most of it comes from friends. I mainly search for music online though, keeping an eye on Bandcamp and labels I love. I’m very lucky to be working with Slow Motion / Wrong Era and to be able to hear so much incredible music each month is something I don’t take for granted.
What’s one piece of advice you’d give to upcoming musicians trying to find their footing in a scene as competitive as Berlin’s?
I would say to just keep making music, trust that inner monitor and lean into those guilty pleasures. This is also definitely the place to meet your heroes and I’ve been lucky to meet so many DJ’s and producers who are generous with their time and knowledge. The wonderful Curses has been another wonderful support since I arrived and has always been there to lend advice and inspiration along the way. Berlin is also an incredible place to connect with the rest of the world musically.
Looking ahead, what’s on the horizon for you for the rest of 2026?
I’m fortunate to be working on a lot of music for the remainder of this year. I’ll be finishing off a few collaborations, remixes and working on a debut album. I’ll also be working on a lot of music with my partner in crime Neu-Romancer aimed for live shows. Lots to look forward to!