In the vibrant world of techno music, few figures stand out as prominently as Sophie from the BMC Collective. Renowned for her unique approach to sound and performance, Sophie has become a beacon in the techno community, blending cutting-edge electronic beats with an unyielding creative vision. This article delves into her journey, exploring her influences, the evolution of her music, and the impact she has had on the techno scene. Through her work with the BMC Collective, Sophie has not only pushed the boundaries of the genre but also fostered a community of like-minded artists and enthusiasts, creating a techno paradise that continues to inspire and innovate. I met up with Sophie to have a deeper insight into her artistic journey and contributions to the techno world.
J: Can you tell us a bit about yourself and your journey into the world of techno music?
S: I’m Sophie, I’m 20 years old, and I grew up in Tirol. I spent a lot of time in Vienna when I was little, around 4 or 5, because that’s where my mom’s from and my dad lived there for a while. I grew up in Innsbruck and started going to raves when I was about 14 or 15. My initial interest was in psy-trance and drum and bass, but by 16 or 17, I got into techno, especially 90s trance.
I was fascinated by DJing because it seemed so straightforward, but I heard it wasn’t as easy as it looked, which made me want to challenge myself. Music has always been a big part of my life, thanks to my dad, who’s a HI-FI enthusiast.
About four years ago, I met a friend named Basti, who is deeply involved in Innsbruck’s cultural scene. He had a DJ setup at home and offered to teach me some basics. Over time, we built a collective 2 or 3 years ago, and that’s how my journey in DJing and music started.
J: How did you become a resident artist at BeatMeetsCrowd?
S: Basti met a lot of people from Germany 2 or 3 years ago, many of whom were DJs or involved in organizing parties and decorations. We saw an opportunity to bring hard techno to Innsbruck, a city that, despite its charm and student population, didn't have much of a scene for this kind of music. We decided to host our first big party to promote the genre here, and it turned out to be a significant milestone for me. I ended up playing in front of about 300 people, marking my first major gig.
J: Who are your biggest musical influences, and how have they shaped your sound?
S: I started with melodic trance, but over the past year and a half, I’ve shifted towards new school, hard groove, and the hypnotic scene, particularly the deeper sounds from Amsterdam and Berlin.
Bailey Ibbs, a resident at Tresor, is a major influence. His hypnotic sets, with their exceptional use of vocals and breaks, make my body move like water. I’m excited to see him in Berlin this summer.
Gonzo MDF from Munich also had a big impact on me. His "Counterweight" series at Rote Sonne was percussion-driven and incredibly energetic, shaping how I approach my sets. His clarity and confidence are inspiring, and I make it a point to catch his shows whenever he’s in Munich.
Lastly, Lukas from Conntex, a friend from Innsbruck, is gaining recognition for his own music. He’s talented, humble, and kind, and I really respect him for both his music and his character.
J: How would you describe your personal style within the techno genre?
S: I’d describe my style as percussion-driven. It injects high energy into the set and gets your hips and shoulders moving, with a vibe that's often quite sensual. It sometimes reminds me of samba or bachata, drawing influences from Latin American and African music, with elements like bongos.
My sets vary between melodic and calm moments and high-energy peaks, reflecting the ups and downs of life. I aim to keep things dynamic, which can be challenging. I explore genres like hard groove, hypnotic groove, old school, hot trance, and occasionally gabber.
J: How does your foray into techno music influence your fashion choices?
S: I would say my love for different fashion styles reflects my love for different music genres. There is no super specific aesthetic that I follow. I like to experiment and especially when it comes to partying, I like to wear something that allows me to dance and move a lot. I would say my style is very much inspired by punk and goth music and the 90's. I got a lot of inspiration from people from techno parties which dress often very eccentric and unusual. I like to keep it weird and to play with accessories, colours and textures. I try to make my stuff me and unique. I thrift 90% of my clothes, then i know not everybody wears something similar plus it‘s more environmental friendly and more timeless.
J: How did you first get involved with BMC, and what attracted you to the collective?
S: Innsbruck is a small city, and when I joined the collective, most of the people were from Germany with a lot of experience from other cities. I was quite young and amazed by how much they taught me—things I had never known or experienced before. I realized this could turn into a big hobby and, at first, I hoped it might lead to significant financial success.
But what really drew me in was the opportunity to immerse myself in art and connect with more people. It pushed me out of my comfort zone and allowed me to focus on my passion for electronic music. I saw it as a chance to learn from them and bring my own unique style to the table.
J: Can you share some insights on how you collaborate with other members of the collective?
S: We organize events in clubs and outdoors, and currently, we’re on a summer break. When we're active, we meet once or twice a week. Our process is quite democratic: we start with core ideas and aesthetics, and I often handle the decorations. For example, I might suggest using plants, and then we figure out logistics—like sourcing plants, staffing the door, or handling graphics.
While we don’t fight, we do have intense discussions, which can be frustrating but ultimately strengthens our team. Despite differing views, our shared love for music unites us. Sometimes, you have to set aside your ego to work together effectively and achieve our goals.
J: What’s the creative process like when you’re working on a project or event with BMC?
S: Decoration is my specialty. When we have time, usually in the evenings, we gather with friends and get creative. For example, when Dachsbau closed, we salvaged about 500 vinyl records from their collection. We built a wooden structure, arranged the vinyls on it, and used it as a stage front and back drop. It took over seven hours and was exhausting, but we just went with the flow and used what we had.
Our process is often spontaneous rather than planned. We’re a bit chaotic, but that’s what makes our work unique. We embrace the moment and let inspiration guide us, resulting in some of our most creative and unexpected projects.
J: What has been your most memorable performance with BMC so far?
S: Not long ago, we did the Cultural Train through Innsbruck with all the big trucks. There were about 3,000 to 4,000 people. We had a truck with open speakers and drove through the city for five or six hours. It was an incredible experience—everyone loved it.
It was one of the first times in a year and a half that I felt so much energy. With many clubs closing and people leaving Innsbruck due to its tough cultural scene, it’s been hard to find that kind of vibe. Standing on the truck, I closed my eyes and thought, "This is exactly what I want."
J: Oh wow, getting the permit must be a challenge?
S: It was a tough experience, but it turned into an unforgettable one. During the parade, Bastian informed us that things weren't going as planned and asked me to step in and perform for a crowd of 1500 people. The sun was blazing in my eyes, and I was already overstimulated, having not eaten all day and surviving on coffee.
Initially, I was extremely stressed, but seeing how much joy my music brought to the crowd was incredible. Despite my nerves, watching everyone jump and enjoy themselves made it all worth it. I felt that the audience appreciated the hours of work, love, and passion I put into my set. It was a beautiful moment, reaffirming that my efforts truly make a difference.
J: How do you prepare for your performances and DJ sets?
S: I play digitally using USB sticks, and I used to have four because they don’t hold much. My goal is to keep everything organized so I can easily find the right vibe. I use playlists on SoundCloud to store my new tracks, which I then import into Pioneer’s Rekordbox app. In Rekordbox, I set loops for specific parts of each track, so when I load a track, I already know which sections will fit well in my set. This system helps me manage my set more efficiently, without needing to use all my mental energy during the performance. Usually I do this once every two weeks.
J: What are some challenges you’ve faced as a resident artist in a techno collective?
S: I’ve had ADHD since I was a child, which makes concentration really challenging. Medication has helped, but it’s still inconsistent, so I need to be patient with myself. High expectations for myself, combined with the difficulty of meeting them, has been frustrating. A couple of years ago, I had to cancel a few gigs because I felt I wasn’t good enough.
Eventually, I decided to let go of that fear. I realized that many people don’t even notice my mistakes, and pushing myself out of my comfort zone was the only way to improve. I started viewing things from a different perspective and accepted that everyone makes mistakes and no one is born with the knowledge of how to mix perfectly - it's a process.
Another frustration is how commercial the techno scene has become. Social media amplifies this issue, with some people getting more attention due to their promotional skills rather than their talent. It’s tough seeing talented people overshadowed by those with flashy social media profiles. I try not to dwell on this too much, as it can be draining. I remind myself to focus on my own growth and not let these comparisons get in the way of my passion.
J: Can you explain the difference between a commercial techno sound and a independent techno sound?
S: I've discussed trends a lot, and one thing that stands out is how some people handle remixes. For example, taking an old Britney Spears track, adding a basic kick and bass line, and calling it a remix often seems like a shortcut. It might only take a few days, but to me, it lacks creativity. While such edits can be entertaining, they often feel cheap, especially when they dominate a set. But nevertheless I wanna emphasize that I do really like some of them!
Techno doesn’t always need to be super deep, but it should go beyond just recycling familiar sounds. The crowd often seems more focused on partying and get gucken up than immersing themselves in the music, and this shift has drawn people from the EDM scene rather than the traditional techno community.
The original techno scene valued connection and dance, with a sense of community looking out for one another. However, many new partygoers don’t adhere to these values, which can be exhausting for those of us who’ve been in the scene longer. We still face challenges like harassment and other negative behaviors, which disrupt the sense of unity we used to cherish.
J: How do you think the techno scene in Innsbruck compares to other cities?
S: That's a good question. Innsbruck’s music scene is challenging. Compared to Vienna or larger cities, Innsbruck lacks the financial resources for clubs and has a more conservative view of techno, often associating it with drugs and wild behavior. This has led to many clubs closing down.
The scene can be frustrating due to the high investment needed and the low returns. However, it’s fun because there are many young people who are new to living on their own and are discovering the party scene. They’re still learning the ropes, which can be both unsatisfying and exciting.
While Innsbruck’s scene isn’t very big, and many of my friends and I often travel to Munich for better parties, it does have its unique charm and beautiful moments. Munich’s parties are vibrant, with people deeply immersed in the music, which is something we’re still developing here. A lot of students leave after their studies because Innsbruck offers very little beyond skiing and mountains.
Despite my critical view of the city, standing out in Innsbruck can be rewarding. While you’re one of many in Berlin, here, you’re one of the few making a mark in the scene.
S: I’m seeking a work-life balance since it's tough right now. I work at a tobacco shop selling cigarettes, but my main job is with children in kindergarten. In September, I'll start a new job with kids aged one to three, which comes with many responsibilities. I believe that if you party hard and use drugs, you’re not a good role model for kids, so I’ve stopped doing that. I want to balance partying twice a month with focusing on DJing, improving my skills, and not just partying every weekend.
J: Are there any new directions or projects you’re planning to explore?
S: We're collaborating with e.c.t. studio on BMC merch, potentially dropping in September or October, so stay tuned! I’m keeping details under wraps for now, just a few hints. Besides selling on Depop and Etsy, I also make jewelry and other items. I hope to earn from this and maybe work in the fashion industry someday—it's my passion.
J: What advice would you give to aspiring techno artists looking to join a collective or make their mark in the industry?
S: Don’t take yourself too seriously, promote yourself but not in a pushy way. There will always be someone better, so take inspiration from them without harsh self-judgment. Learning might take you longer than others, and that's okay. Approach it with humor, and you’ll learn faster without stressing over mistakes. Learn from your errors and don’t worry about being judged. Take your time, go with the flow, and if it’s not for you, that’s fine too. If you think our collective is cool and want to join, just talk to us. We’re chill and open to new people—no high expectations, just see where it goes and if it vibes.
J: How important is community and collaboration in the techno music scene?
S: As a young artist, having friends support you is everything. When they come to your gigs, dance, and hype you up, it makes a huge difference. Whenever my friends aren’t with me, I feel like something is missing. I really miss that vibe in Innsbruck sometimes though every now and then random people on the street or at work recognize me from a club and tell me that they liked my sets very much which always fills my heart with so much joy and keeps me going.
Feeling the music and understanding what I’m doing is crucial. It’s similar to my role as a teacher—seeing people help each other, enjoy themselves, and escape their daily grind is rewarding. What I do brings pleasure and helps them get out of their heads and stressful life.
J: How has your involvement with BMC influenced your growth as an artist?
S: DJing and event management has had a huge impact on my life. At first, performing in front of lots of people was really stressful, and I even canceled some gigs. Over time, I learned to manage the pressure. It felt spiritual in a way, thanks to my interest in Buddhism from my dad. Realizing that everyone has insecurities and needs to escape the same hamster wheel helped me see my audience as just people who understand the pressure. I’ve grown more confident, moving past thoughts of not being good enough.
I've learned to take things less seriously, accept mistakes, and improve over time. This journey has shaped my views on fashion, introduced me to new people, and helped me overcome social anxiety from my autism and ADHD. Being in a male-dominated industry is tough, but facing these challenges at parties and events has made me more resilient and better at communicating.
I always say I'm a bit of a girl boss. Many men have tried to mansplain the industry and music to me, but I insist on being treated as an equal. Let's discuss things on the same level—being a woman doesn’t make me inferior, and I might even have more experience than some of them. I've also faced a lot of unwanted attention and sexualization. There have been many instances where people were flirty or touched me inappropriately. While I don't let it get to me, I do set clear boundaries and say, "Stop it right there."
J: What have you learned from your experiences with the collective that you didn’t expect?
S: It's also a big ego thing for me - I often have strong ideas and want to execute them without compromise. It can be tough to hear others say, "No, I don't like it, let's change it." I have a lot of temper, which can clash with others. So, I've learned to step back, listen, and find a middle ground. It's about merging my ideas with theirs to see where we can get.
This approach has led to the best outcomes. I talk a lot and have many ideas, so learning to be silent, listen first, and then share my thoughts has been crucial. It doesn't always have to be exactly what I wanted. Listening first and being open to others' ideas can be beneficial, even if it means adjusting my original plan.
All that gave me the ability to also organize my own events.
J: Can you share some of your favorite tracks or sets that you’ve played recently?
S: I think one of my favorite tracks that I listen to for one month straight every day is from Arthur Robert's Exquisite. I really love synth lines in tracks. I can't really describe it, it just feels like it tickles my brain sometimes. And I really want to get into using synthesizers myself. I want to do music for myself and maybe using my voice for it. I sung in a band when I was younger.
S: Actually no. When I was 11, I sang "I Will Survive" by Gloria Gaynor. It was wild because she’s such a powerful artist, and here I was singing about breaking up and being strong at such a young age. It was a funny and bold moment.
For my next step, I want to explore more with repetition in my music. I often layer multiple tracks and play with vocals to create a dynamic, interactive experience. I enjoy making the elements respond to each other and add depth to my sets.
So, there was Arthur Roberts, then it was Bailey Ibbs. He played one of my favorite sets is from Tresor, an old industrial club in Berlin. It’s a three-and-a-half-hour set that I’ve listened to at least five times. I also love the Vault Sessions from Amsterdam, especially the one with B.A.B.E Station—the sets and music they release is always perfectly paced and represents my most beloved techno subgenres. Another favorite is Grace Dahl also from Amsterdam. I draw a lot of inspiration from the Netherlands due to their vibrant scene and unique, catchy club sets. And last but not least Eerste Communie also from The Netherlands.
Arthur Robert - Exquisite
Gunjack - Sambafria
Bailey Ibbs - Tempo
Opposition - Controlled Substance
Anné - Sunkissed
J: What tracks are you currently inspired by or can’t stop listening to?
S:
Fraz.ier - Motor city 3000
Known artist - Get up(club mix)
Conntex - Primal instinct
J: Where might we find you on a Sunday afternoon?
S: Rotting in my bed, smoking a joint, sketching on my book or listening to some vinyls.
J: In conclusion, if the world were to end tomorrow, what would you do now
S: Have a big party in the middle of the city with all my friends and my family.
J: Thank you so much for this interview. It was really a pleasure getting to know you and your journey through the techno scene.
S: My pleasure!
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For more info on Sophie, you can follow her on IG or listen to her sick tunes on soundcloud.