Info

Max Citing, born in Berlin, Germany, is a renowned musician, DJ, and producer who has made significant contributions to the electronic music scene. Rising to prominence in the late 1990s, Citing is celebrated for his distinctive style, blending techno, house, ambient, and experimental electronics. His music is characterized by intricate, hypnotic melodies, meticulously crafted beats, and an atmosphere that is both club-ready and introspective.

Early Years

Inspired by pioneers like Kraftwerk, Aphex Twin, and Berlin’s techno scene, Citing began producing music in his youth. His early releases on smaller labels paved the way for his breakthrough debut album, M (1999), which garnered widespread attention.

Notable Tracks

Among his most iconic singles are “Banksy Was Here” (2017), “Berghain” (2019), “Number Seven” (2021), and “The Sun, The Moon, and The Truth” (2022). These tracks are known for their driving rhythms and evocative soundscapes.

Latest Album

Citing’s most recent album, Wandertag (November 2024), is considered one of his most ambitious projects. It fuses minimalist techno with orchestral elements and features singles like “Helga,” “Los Angeles,” “Propaganda,” and “Ibiza.” Critics have praised the album for its innovative production and ability to balance club energy with emotional depth.

Live Performances

Citing is renowned for his dynamic DJ sets and live shows, often enhanced by visual elements such as light shows and abstract projections. He is a regular performer at clubs and festivals worldwide.

Style and Influences

Citing describes his style as “a journey through sound.” His productions are deeply rooted in Germany’s techno scene but also draw from IDM, downtempo, and classical music. He places a strong emphasis on sound design, frequently using analog synthesizers and field recordings to create organic textures. When present, his lyrics are poetic, exploring themes like urbanity, identity, and the intersection of humanity and technology.

Personal Life

Citing maintains a degree of anonymity to keep the focus on his music, and little is known about his private life. In interviews, he emphasizes the importance of authenticity and creativity. He is also an active mentor, offering workshops on music production and DJing for aspiring artists.

Reception and Influence

Citing is widely admired by fans and critics for his versatility and innovative approach. His work is often compared to artists like Jon Hopkins, Bicep, and Christian Löffler, though he has carved out a unique niche. With a global fanbase, particularly in Europe, North America, and Japan, Citing continues to shape the electronic music landscape.

New Singles

Albums

Max Citing Essentials

Videos

Number Seven / 25

Book

DJ Magazine Interview

Growing up in East Berlin in the 1970s and 1980s, how did the city’s unique cultural and political atmosphere shape your early connection to music?

East Berlin in the DDR era was a strange mix of restriction and rebellion. Music was a quiet escape—state radio played classical or approved pop, but we’d secretly trade tapes of Western electronic stuff, like early synthpop or Kraftwerk. That sense of music as something subversive stuck with me. It wasn’t just sound; it was a way to imagine a world beyond the Wall. That’s probably why I gravitate toward sounds that feel like they’re breaking boundaries.

You’ve carved a niche in techno, house, and experimental sounds. What drew you to these genres, and how do you define your sound for someone who’s never heard it?

Techno’s raw energy hooked me—it’s hypnotic, like a heartbeat. House added soul and groove, while experimental sounds let me push past rules. I’d describe my sound as a journey: pulsing rhythms that make you move, layered with atmospheric textures that pull you inward. It’s music for late-night drives or packed clubs, with a bit of Berlin’s grit and dreaminess.

Starting in Berlin’s underground scene must have been intense. What’s a standout memory from those early gigs or releases that fueled your drive to keep going?

One night in the mid 90s, I played in a tiny basement club in Kreuzberg. The sound system was terrible, the audience consisted of maybe 30 people, but when my track started, they went crazy – dancing, screaming, going wild. Someone came up to me afterwards and said it felt like “flying”. That raw energy and the knowledge that my music can move strangers has kept me going through all those long nights.

Your productions are praised for their technical precision and creative depth. How did you develop your skills as a producer, and what’s your go-to approach in the studio?

I’m mostly self-taught, tinkering with gear and software since the ’90s. I’d spend hours dissecting tracks I loved, figuring out how they worked. In the studio, I start with a single element—a bassline, a texture—and build around it like a puzzle. I’m obsessive about sound design, tweaking until every layer feels alive. But I also leave room for happy accidents; sometimes the best moments come from mistakes.

With influences like Kraftwerk and Paul Kalkbrenner, how do you balance honoring Germany’s electronic music heritage with creating something new and distinctly yours?

Kraftwerk showed me structure and minimalism; Paul taught me how to make techno feel human. I respect that foundation, but I don’t want to copy it. I add my own spin—maybe a wonky rhythm or a melody that feels more emotional than mechanical. It’s like building on their blueprint but painting the walls with my own colors, drawing from my experiences and imagination.

Your music has a storytelling quality that feels like a journey. How do you craft tracks that work both on a dancefloor and as a headphone experience?

I think in arcs, like a film. I use evolving patterns—filters opening, sounds fading in and out—to create a sense of movement. For the dancefloor, I keep the kick and bass tight, driving. For headphones, I add subtle details, like distant echoes or shifting textures, that reward close listening. I test tracks in both settings to make sure they hit hard but also unfold over time, like a story you can live in.

You’ve mentioned living between cities like Zürich and Los Angeles. How do these contrasting environments influence your creative process or the vibe of your music?

Zürich’s calm, almost sterile vibe pushes me toward cleaner, more introspective sounds—think spacious pads or minimal beats. LA’s chaos, with its sprawl and energy, inspires louder, bolder tracks with a cinematic edge. I don’t consciously try to channel these places, but they seep in. Moving between them keeps my perspective fresh, like switching lenses on a camera.

As someone born in 1974, you’ve seen electronic music evolve over decades. How do you stay inspired and relevant in a scene that’s constantly changing?

The core of electronic music—freedom, experimentation—never changes. I stay inspired by digging into new tools, like modular synths, or listening to genres outside my comfort zone, like jazz or ambient. I don’t chase trends; I focus on what feels honest to me. My age gives me perspective: I’ve seen fads come and go, so I trust my instincts over what’s “hot.”

Your latest album “Wandertag” is attracting attention for its atmospheric and rhythmic mix. What is the vision behind it, and what do you hope listeners will take away from it?

Wandertag” is about capturing fleeting moments – the moments when you feel alive and untethered. Like on a journey. I wanted to mix driving rhythms with dreamy, almost nostalgic layers. I hope listeners feel transported, whether they’re dancing or just chilling out. If they put their headphones down with a feeling of energy, calm or even a memory after listening to the album, that’s enough for me.

For fans discovering you now, what’s one thing you want them to know about your music or your journey as an artist breaking out from Berlin’s underground?

I want them to know that my music comes from a real place – a kid from East Berlin who found freedom in sound. It’s not about fame or showing off; it’s about creating something that connects, something that feels like it’s your own when you listen to it. My journey has only just begun, and I’m here to continue pushing the boundaries of electronic music.

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