Emanating from the rich legacy of 90s and 00s techno, Supergloss delivers a captivating concoction of energetic sounds that artfully melds the vintage with the avant-garde. Her unique musical identity straddles the realms of acid, trance, and techno, with an intentional focus on igniting the listener’s feminine energy through a selection of infectious, dance-inducing tracks and whimsical beats. Born and raised in Germany, Supergloss embarked on her musical odyssey at the tender age of five, where classical piano served as her initial canvas. As she matured, her interests flourished, evolving from the effervescent realms of hyperpop and hip-hop to ultimately embracing her true passion—techno—after moving to Berlin. Unwilling to be confined by genres, Supergloss invites audiences on a thrilling sonic journey with each mix she creates.
Since making her debut in 2021, Supergloss has carved out a significant niche in the techno scene as a vibrant, rising star. Her innovative style and magnetic energy have not only resonated with fans but have also established her as a formidable force, leading to regular performances at top-tier clubs and high-profile party series. We had the pleasure of chatting with Supergloss just after the drop of her latest EP, Space Office (Part 2), to explore her creative inspirations and artistic evolution.
Can you share more about your early musical experiences?
My earliest musical experiences started when my mother let me choose an instrument I wanted to learn. I chose to play piano when I was five years old and still today I benefit musically from it. Later in my teenage years, I experimented with pop music – I was a huge fan of the 2010s icons like Lady Gaga and Rihanna. I found something extroverted in them that I couldn’t see around me so much. Especially Lady Gaga shaped my musical taste a lot, even if that sounds strange. But I still look for this boldness, creative catchy melodies, and rhythm in tracks today when I’m selecting. I was born in 1998, so I was born in the year that most of my favourite trance tracks are from today. And they are crazy, unpredictable, and sometimes spontaneous and messy – not like modern, high-tech stuff. So, I guess my taste and experiences always drew me to more expressive music.
You mentioned moving through different genres, before settling on techno. What about techno resonates with you the most, and how did that transition happen?
I got involved with techno music when I picked up my first student job at 18 in a Comedy Bar in Hamburg. Sometimes after my shift I needed an outlet. I was still awake after working during the night, so I decided I wanted to go to a club to dance on my own. People recommended I go to Waagenbau in Hamburg. It was exciting to go alone- I think I didn’t even change my dirty clothes after work. I stepped foot into the club and it was intimidating; the toilets were flooded and I saw high people for the first time in my life. It was a bit of a shocker, but I enjoyed the music so much. It felt like my secret for the next months, that I sometimes went there for 1–2 hours after work. But then I moved to Berlin and my flatmate showed me around the Berlin nightlife. I started to listen to techno music in my daily life and since then never stopped. Berlin’s nightlife was magical before Covid and I am so grateful I still got to experience it with people that are 10 years older than me – people who taught me the etiquette of nice ravers and always invited me to the coolest events and festivals. We traveled together to Bassiani, K41, or Garbicz Festival in Poland – that really shaped my musical taste and spirit.
How do you approach the creative process when mixing different styles? What elements do you think are essential in creating a highly danceable track?
When DJing and selecting tracks, I always try to combine the old and the new. Sometimes a 20-year-old track has something that a track released yesterday is missing- and vice versa. It can be the pumpier kick or the more complex 303. While producing, I always try to create a specific kind of acid bassline that lifts you up a bit from your heels when dancing to it, or at least lifts me. I’m trying to keep a static energy flow with a dramatic pit. That sometimes stops people from dancing, but I can see how some people close their eyes, just vibe, and wake up again after the drop. I love that.
Can you elaborate on what “feminine energy” means to you and how it influences your productions?
Giving my tracks a feminine flavour comes naturally. I am in touch with my feminine side a lot – I like when tracks represent my own feeling of femininity. That is mainly heavy synths and an uplifting theme. Trance music makes me feel free, at peace, and just content. What more do you want as a woman?
Since your debut in 2021, you’ve gained significant recognition in the techno scene. What has been the most memorable moment during your live performances so far?
My favourite memories always happen when everything feels aligned. When the crowd and I form an energy that gets pulled and released – especially when the light technician is doing their job amazingly. Sometimes the whole room lights up and everyone is waiting for the trance synth to set in again. Then the energy gets released and everybody, including me, is in pure excitement. These are my goosebumps moments.
You’ve toured in various countries including Asia and South America. How do different cultural contexts influence your performances and music?
Every time after a tour abroad I feel like I’m reading another page of the book of rave. In Asia, it’s the stamina of the people while dancing, so I wanted to make more continuous sets. In South America, it was the sense of rhythm that made me want to include more drums into my productions. I highly appreciate being able to learn these lessons, and while I’m trying to get better and better in my skills, this is shaping my music the most.
Your recent debut EP ‘Visual Freek’ with Omon Breaker and your solo EP ‘Space Office’ showcase your versatility. What’s it like collaborating with other artists, and what do you learn from those experiences?
Visual Freek was basically my tutorial by Omon Breaker. The EP is the outcome of that experience – he taught me everything that I know about producing today. And Space Office was what I made from these skills.
You teased a new project with the production duo Escape on Tape. Can you give us any hints about what we can expect from this collaboration?
After our debut EP as Escape on Tape, we are fully sure about our musical direction now. We combined everything we love simultaneously – but cannot incorporate into our solo artistry. It’s like a creative compromise that we are really happy with. We play acid techno- darker than Supergloss but more melodic than Omon Breaker. Surely you can expect new music by the end of the year!
Who are some of your musical influences, particularly from the 90s and 00s, that have shaped your sound?
From these years, I reference the tracks from the catalogues of Noom Records and Bonsai Records a lot – when I go harder, I also look to UK labels like Stay Up Forever. I love the acid from this era- it’s so dirty and raw. Other than that, I admire the Love Parade trance music and sets. The music is individual, ecstatic – everything seemed so free-spirited and raw. I’m sometimes sad that I wasn’t there.
Looking ahead, what are your aspirations for your music career, and are there any specific goals you hope to achieve in the next few years?
I always aspire to be better with every set – and by better, I mean more pleasing for the crowd. It’s my main goal to always make people happy when I play. I accepted for myself that this is what I can deliver best with my music. I stopped overthinking if my music is not hypnotic or trippy enough, and this acknowledgment put me on another level of understanding the stuff that I play. I have this dream of introducing more people to this sound again. It’s a sometimes forgotten spirit that I want to try to reintroduce.
What advice would you give to young, aspiring DJs and producers trying to carve a niche in the music industry?
If you want to carve a niche, you need to build one for yourself. Try to understand your taste as if you have never heard a popular electronic music track before. Rinse away the idea that what the successful DJs are playing is the ultimate thing. You need to stand behind what you do and protect it. And then you can hope that other people like it as well. You cannot force the majority to like what you do, but you also can’t force people to try to introduce themselves to it.
How has the support from fans and fellow artists impacted your journey in the techno scene?Building a career in the techno scene is impossible without the support of others. We all depend on each other. I want to play and people want to dance- and without the attendance of the crowd, their views, and their applause or supportive words, I would never be even the person I am today. It taught me confidence and trust in what I am doing. I was a big overthinker at the beginning of my journey, but now I trust in the fact that I have a community who will dance with me until every last track.
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Space Office (Part 2) is out now: https://linktr.ee/superglosss
