We’re excited to present the latest edition of "Behind The Rytm", featuring questions for Exos from our community. In this edition, we dive into his early influences, explore how his journey in techno began, and uncover his thoughts on the scene, creativity, and longevity. Enjoy the interview!
You’ve been active in techno for over two decades. What continues to inspire you and drive you to evolve your sound?
Honestly, I really can't answer that question. It’s just the way of my life, from waking up until going to sleep. I guess it’s the energy that drives me that resonates with Techno. The first time I heard a pure Techno track as we know it today, I got sucked into it with no turning back. It was Dave Clarke – Red 1 in spring 1994. Before that time, I was all about House and early Rave.
You’re originally from Reykjavik, a place strongly connected to nature and isolation. How has growing up there shaped your musical vision and artistic identity?
Reykjavik and Iceland in general have always been sharp and on point when it comes to culture. We got music literally the same day it came out in the UK, all the fashion and influences from Paris, and all the movies and TV series at the same time from the U.S. Even if Iceland was isolated, we were exactly on point with everything. Even underground dance music came right away. Goldie, the drum and bass pioneer, used to make world premieres of Reinforced (the pioneering Jungle label) on Icelandic radio shows, while the local radio show “Party Zone” had its weekly Top 20 list, showcasing all the new and fresh tracks in House and Techno.
In the punk rock scene, Björk was heavily influenced by what was going on in the UK, then became a pioneering icon in the UK punk scene and later worldwide. Perhaps being isolated made us want to be even more on point about what was happening in the world.
As for me, picking up everything that was going on in dance music from time to time was important. Giving every genre attention and collecting something from all styles was important to me. My vinyl collection is not only about Techno, but also about House, Jungle, Ambient, and everything in between.
How did you come up with the name “Exos”? Does it hold a personal or symbolic meaning for you?
Well, I try to avoid answering this question because I get it a lot, hehe… but I will be honest. I woke up one day with this name. It was my alter ego when I made music. I guess we all have different ways of doing things, but when I make music, I get sucked into a bliss of a certain energy.
Years later, I found the meaning of the name Exos — it means “out of the box,” out of the circle, something that is outside of what’s happening in the current state. Interestingly enough, it actually describes my character and my life path in a certain way.
Techno has gone through many cycles — underground movements, commercial phases, and renewed revivals. How do you see the state of the scene today?
I think we are very lucky to have some protectors of the sound. Techno needs to be protected to stay connected to its origins. But at the same time, it sometimes loses its excitement.
I am very happy to see all the young talented producers out there with absolutely amazing soundscapes and mixing techniques. We are also lucky to be living in times where music production skills are easily accessible and can be taught online.
But to answer the question straight up, we are now seeing talents being given less respect and value for their contribution as producers and more value as actors on stage. The crowd at festivals and clubs wants to be entertained by performance and not necessarily by the quality of the music itself.
The scene is full of very interesting artists. Young talents are breaking out every week, which is very important, as that’s what keeps the scene alive.
The relationship between underground culture and the mainstream is a recurring topic in techno. Do you believe it’s possible for an artist to stay true to their roots while reaching a broader audience?
Absolutely yes. This has been a hot topic ever since Techno was shaped as a genre back in the early ’90s. I remember reading about people blaming underground heroes like Dave Clarke for selling out just because he signed the Red series to a bigger label, even though the music didn’t change. Jeff Mills made a major deal with Sony/React with one of the most underground takes on Techno there ever was.
Biologically, it has been proven that human cells react to the environment, so it’s actually hard to keep up with “original roots” when you're evolving as an artist. Some artists fall for it, or just change naturally, and that’s totally fine as well.
It’s also interesting to follow an artist who has the ability to change from time to time. You might say that about Carl Cox and wonder if he was evolving or following trends, or like David Bowie, who completely changed from album to album — which is a big risk and can lead to unhappy fans and a shrinking audience.
What has been the biggest challenge in maintaining longevity and relevance in such a fast-changing scene?
I think the biggest challenge has been protecting the origin of the genre. We have seen a huge circle in the Techno scene going in all different directions, fusing many different styles together. This has led to a lot of controversy.
It was good in a certain way, as most end up in original Techno anyway, no matter what. I think it’s unnecessary to judge experiments that try other directions. Techno has always suffered a bit from fundamentalism. It’s a very serious genre — sometimes too serious.
If we don’t experiment with it, then we might ask the question: is it really Techno or not? For me, it’s okay to go out of the box and try different things, but it’s also good to come back to the roots. No rules, no judgment — and I believe that’s one of the true meanings of Techno in the first place.
Your sound is instantly recognizable. How do you balance pushing forward creatively while staying connected to the core of the Exos sound?
Uff, it’s hard, as sometimes it gets lost along the way. Good question. Maybe I don’t want to be recognizable in some way. In some of my tracks, I want to keep it classic, like in my dubby deep techno style, and that’s easy for me. But sometimes I want to make something completely different.
Lately, I have been producing a lot of downtempo, chill-out stuff. You can hear some of my old-school style there, but I am also preparing a house project with one of the biggest house legends in the game, and I believe my sound will be unrecognizable in that one.
As an artist, I want to be able to make everything — different styles — and who knows, I might even do pop songs for daytime radio.
When you start a new track, are you driven more by spontaneous ideas or by structured pattern-building? How does your creative process usually unfold?
You ask 1,000 people and you get 1,000 answers, but for me it’s all about being in the moment. That’s why I need a very fast workflow — fast access to my favorite plugins and samples — something I can put together as quickly as possible to stay in the moment.
Deadmau5, one of the most successful engineers, pointed out how he masters his music while producing it, but by doing that, you spend too much time focusing on the sound instead of the creative part. That’s why I do the mixdowns later on. The risky part is that the music can change a bit in the process, but that’s just how it goes.
It’s more about the moment than being perfect. Techno is not about perfection — it’s about the movement of energy, when you fuse your craziness into the creative form of music. Getting your expression into the music. Art is our biggest healer.
Many producers struggle with over-arranging. Do you have any advice on achieving that “complex simplicity” techno is known for?
I honestly think that’s a good thing these days. In the analog era, when everything was made with totally different gear, it was relevant to create a hypnotic vibe with less effort and a more minimal sound. The Techno loop was more alive on its own.
Nowadays, we are living in a totally different world where time is flying faster and yesterday’s news feels forgotten in the blink of an eye. Sons of Hidden is a good example of this new “minimal” sound — very minimal, but constantly something new happening.
For younger artists just starting out, what production advice would you give them today?
First of all, music is your everyday path. Think of it as a hobby, a part of your life, without expecting it to give you fortune, money, or fame. It’s one of the most precious parts of life. Some people don’t even care about music or listen to it.
If you have a passion for making music, it’s one of the greatest things in life. Look at it as your life goal to become better and better. Practice as much as possible — not for others, but for yourself.
You’ve collaborated with many artists over the years. Are there any newer-generation artists who have caught your attention recently?
The amount of younger talent out there is simply amazing. It’s a good and interesting time to be alive. Nathan Alexander, Filtrack, LPV, Toobris… the list goes on and on.
Is there a particular gig — either one you played or attended — that had a lasting impact on your path as an artist?
Seeing Dave Clarke, Derrick May, and Jeff Mills playing back in the day. Seeing DJs play Techno like no one else is capable of doing is the most inspiring…
After so many years of touring, what has been the most rewarding part of life on the road?
The rewarding part is the purpose — why are we doing it? Not even Jeff Mills was able to answer that question, and I can’t really answer it either. But it’s what we do as DJs — a burning desire to play music, if not for others, then for ourselves.
When we have the opportunity to share music with others, giving out energy through music, we tune our energy fields to a higher level. I guess that is the energy we as DJs and performers are seeking — a higher level of musical consciousness.
Is it always worth it? Yes, I would say so. Even if the gig has zero audience, you still get to play on a sound system. You still prepare the gig and make a journey out of it, and that gives you purpose to evolve and thrive in the music scene. Even if it hardly makes any difference, it makes a difference to yourself. If not, then don’t do it.
What keeps your passion for techno alive after all these years of performing and traveling?
It’s without a doubt the energy I get from listening to it and being part of it. The feeling of excitement — when it hits, it’s like nothing else.
Looking ahead, what’s next for you — musically and personally? Are there any projects or collaborations you’re especially excited about?
Making music every day. Preparing my live set for the first time in my life — very excited about that. Releasing more music, focusing on my label Planet X as much as possible, and just staying healthy and positive, even when it’s hard in our current times.
The Fast Five:
Favorite closing track? Biosphere – Spring Fever
Most played track? DJ Funk – Run UK
One track you'd play forever? Maurizio – M 4.5
Track you wish you’d made? Monolake - Magenta
Favorite track from your own catalog? Orangeblue