Marc Romboy is an artist renowned within the electronic scene for his eclectic, boundary-pushing approach and decades worth of experience working both behind the scenes and behind the decks. Growing up in the West of Germany close to the borders of both The Netherlands and Belgium, Marc was always instinctively drawn to music. He would attend the acid house parties prevalent in the area, with an epiphany of sorts on the dancefloor of Front club in Hamburg in 1987. An avid record collector, he would listen to Krautrock, breaks, Italo disco, Chicago house and more, and experienced some of the first all house and techno clubs in Europe; the legendary Roxy club in Amsterdam and Dorian Grey in Frankfurt. Learning to DJ, and later on produce, was a natural step.

After many years of gigging across the world’s most respected clubs – from Watergate to Berghain, Womb Tokyo to Output New York, Rex Paris to Fabric London and a string of hugely successful releases, Marc Romboy cemented himself as one of the scenes most forward-thinking artists. Fast forward to 2020 and his new release on Andre Homman’s These Eyes is out so we thought it was fitting to invite him behind the headphones.

We have read previously that music wasn’t something you actively pursued in school it was only when you started going to record stores you became infatuated. Is this true and at what point did you decide you wanted to pursue a career?

Yes, this is true. I became a record collector when I was five. There was a pub next to our house and there was a jukebox, a guy refilled every month. The old records he gave to me. This is how everything began.

You have been responsible for some great labels over the years. Systematic Recordings and Hyperharmonic. What are the pros and cons of having multiple labels compared to just one?

Well, nowadays I´m only running Systematic Recordings and Hyperharmonic, which is the imprint for my fusio classical albums and projects. I always loved to help my friends with running their labels as I know the business quite well. This gives you the possibility to have different perspectives as well, such as the position of the A&R, product manager or the artist himself.

Do you think the ease at which artists can publish music has bettered the scene in the long run or caused more issues?

It’s always good if as many as possible artists are able to release their music. This is a democracy, So it’s becoming better and better.

A lot has changed since you first started DJing. What do you think has been the biggest challenge in your career to date?

That everybody can become an artist. Back in the days, you needed money and you had to live in a metropolitan where the record business and scene was based. This all is not needed anymore. You can live on the Eastern islands and become a famous musician.

Are there any skills or lessons that you have learnt in music that you have applied outside music or vice versa?

Yes, of course, music is a part of our lives and I have learnt that music has a lot of power, i.e. to express one’s love or to bring people together. A few politicians want to separate people, music for sure brings people together.

As an artist do you have any advice for overcoming a creative block?

Yes. When you have a block simply do something different to reset your mind. Make yoga, call your parents or play some ping pong, afterwards the block can disappear.

How do you think Covid-19 will affect touring DJ’s once we see clubs reopen?

Puh, good question, really difficult to predict what it will be like. The only thing I know is that I will continue as music is my life.

If you could produce a track with anyone past or present who would it be and why?

Without any doubt, I would love to make music with Bach. I would ask him a lot of questions about how he was able to compose such amazing music at the end of the mid-age. Stunning.

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