Airport lounges have quietly become an extension of the backstage. Between boarding calls and departure screens, artists catch up on emails, answer interviews and take a brief pause before heading to the next city. Just hours after their first-ever b2b with Oliver Koletzki at AMØK Mallorca, Super Flu found themselves doing exactly that, replying to our questions from Palma Airport before taking off once again. After surviving an accidentally unplugged USB and what they describe as “a small heart attack” behind the booth, answering a few interview questions probably felt like the easiest part of the day.
That same momentum defines AMØK’s biggest season to date. Almost a year after we first spoke about the venue in METAL, its summer programme brings together names such as Jan Blomqvist, WhoMadeWho, Miss Monique, Jonas Blue and many more, reinforcing Mallorca’s place on the electronic music map. Our conversation with Super Flu begins with that memorable night before moving far beyond it, touching on orchestras, record labels, creative longevity and why, even now, “the people will always stay real, and so will the moments we have together.”
How are you, and where are you answering these questions from today?
Hi, we are fine and currently at Palma Airport, waiting for our next flight. So basically, we’re answering these questions from one of our natural habitats.
You’ve just played your first-ever b2b with Oliver Koletzki at AMØK, one of the club’s most anticipated moments. Now that you’ve had a little time to take it all in, how would you describe that night? What will stay with you the longest?
Playing a three-hour b2b with an artist you’ve never played with before is quite tough, but after a while it became super fun. You need some time to find the right groove together, but in the end it worked out pretty well. So thanks to AMØK and Oliver for this awesome night. What will stay with us the longest is probably the last half hour. We really connected with the people and just enjoyed the moment. And, of course, the huge unicorn in our apartment... but that’s another story.
Every great night usually leaves behind one unexpected moment. Was there anything during that set that didn’t go according to plan but ended up making the experience even more special?
The most unexpected moment was when somebody accidentally unplugged my USB and the emergency loop just kept playing. This gave us a small heart attack, but we managed to fix it ASAP, so luckily only the people behind the booth really experienced the drama. For everybody else, it probably sounded completely intentional. Which is basically the secret of DJing.
Summer is officially underway. What are you most looking forward to over the next few months, both on and off the stage?
On stage, we’re looking forward to travelling, playing some great shows and meeting friends we haven’t seen for a while. Off stage, we’re looking forward to exactly the opposite: staying at home, doing nothing and not seeing anybody. So, basically, we’re hoping for the perfect balance between chaos and silence. And maybe some barbecue. Definitely barbecue.
“Even after more than twenty years, we can still laugh together, discuss things, annoy each other, and, in the end, make a better track together than either of us probably would alone.”
The last time we spoke was almost four years ago, around the release of your remix of Reach The Water by Aeyem featuring Lakyn. Looking back, what has changed the most for Super Flu since then?
Four years… Man, that’s such a long time! A lot of things have changed. Our sound has become more defined, we’ve had some huge releases, rebuilt our studio and, personally, we’re probably healthier than ever. We try to do more sports, sleep well and drink less. Basically, we are becoming boring adults — but with better basslines.
Why did Sonnentanz feel like the right track to revisit? It’s a record so many people already have an emotional connection with.
We felt it was the right time for the remix. There was enough distance, but it was still close enough to remember — and, of course, because it’s such an iconic track, we felt it needed the Super Flu touch.
One of your most recent projects brought electronic music together with a classical orchestra. What did that experience unlock creatively that a regular studio session couldn’t?
It completely changes the way you think about music. In the studio, you can move a note, change a sound or make everything louder whenever you want. With an orchestra, suddenly a real human being is sitting there playing that note — and around sixty other people are waiting for you to decide if you like it. So you listen differently. It reminded us how powerful dynamics, space and imperfection can be. And honestly, standing in front of an orchestra playing something that started in your small studio is a pretty emotional experience.
After more than twenty years together, what still surprises you about each other in the studio?
Mostly, it’s how naturally each person has found their place and knows the other person’s strengths and weaknesses. Even after more than twenty years, we can still laugh together, discuss things, annoy each other, and, in the end, make a better track together than either of us probably would alone.
You’ve often said that music comes alive “when machines start to breathe.” In a moment where technology is evolving faster than ever, what keeps electronic music feeling human to you?
To be honest, it’s the moment when we play the music and connect with people. People will always stay real, and so will the moments we have together. Technology has become so good at copying almost everything that sometimes you can’t even hear the difference anymore. So, in the end, you have to believe in the artist, the intention behind the music and the people sharing that moment with you.
“Technology has become so good at copying almost everything that sometimes you can’t even hear the difference anymore. So, in the end, you have to believe in the artist.”
You’ve built Monaberry into one of electronic music’s most respected labels before launching Didschn to explore a different side of your universe. What have those projects taught you that making music alone never could?
At first, Monaberry was just for us. Nobody wanted our music, but we believed in it, so we started Monaberry. Then we invited friends, and it grew. After a while, it became a platform for tracks we play and artists we want to support. Didschn is our second playground because sometimes a label with more than a hundred and seventy releases can start to feel a little restrictive, so we wanted to start from scratch. Running the labels taught us a lot about distribution, promotion and the music business — and, most importantly, that you can’t plan a hit.
It’s been almost ten years since your last studio album. Do you ever miss thinking in albums? Is making another full-length record something that excites you, maybe even over the next year or so?
At the moment, we have so many ideas and projects that we don’t really have time to think about an album. Maybe we miss the time we had back then, but when we think about the time we have now and the rewards we get from releasing music more regularly, we prefer releasing more singles instead of an album for the moment. But who knows... maybe 2027 is the right time for the next Super Flu album.
Without giving too much away, what can you tell us about what’s next?
We have some great releases coming with Peace Control and Eric Reyes, a collaboration with Monkey Safari for their new album, and we are also moving our studio. We think these are the things we are allowed to tell you. The rest would probably require lawyers.
After more than two decades together, if a young producer asked you how to build a career with longevity instead of chasing quick success, what would your advice be?
Don’t do it for the money, and work, work, work. There’s always somebody working harder than you. And if you still love making music when nobody is listening, you are probably on the right path.
