Alex Farell – “People Just Hop On Trends”

With plenty of love going out to Enrico Sangiuliano, we put rising hard-techno phenomenon Alex Farell through our revamped Q&A - diving into his journey, influences, and what’s ahead.

Alex Farell is one of the UK’s youngest forces in hard techno and hard dance. Starting production at 12 and playing clubs by 14, he quickly rose from Liverpool newcomer to international standout. His early releases gained major DJ support and led to a viral Boiler Room debut at 16, followed by key signings with Teletech and standout tracks on Reckless, Taapion, HEKATE, and We Are The Brave. With major festival appearances and a debut album on the way, Farell champions the idea that age is no barrier to making an impact in electronic music.

⁠I’ve always listened to music religiously since I can remember. My mum and dad always had music playing in the house so i always had a very good ear for it.

⁠I really don’t know, to be honest. I kind of gave up in school from the age of about 13. Once I found out what DJing and music production were, I think I kind of self-sabotaged myself, so I felt I HAD to make it as a DJ or producer, since I didn’t really have any other skills.

Adapt or get left behind. In the climate of this scene, where everything is changing pretty much every few months, it’s easy to try to stick to one sound, but these days it doesn’t seem to work.

Hearing good new music is always very good for inspiration and creativity.

⁠MXGN - he is a crazy producer from Liverpool, my hometown, and he uses lots of analogue and live equipment in his productions.

My favourite moment in a club was probably my international debut in Maaschricht, Netherlands, when I was 15. It was just so crazy to be so young playing my music in a foreign country.

⁠I have never had a regular job, which is kind of crazy. I’ve managed to make good money from music since I was about 14 through various means

I usually try to finish my tracks as quick as possible, that way I don’t get hung up on the small things. If you overwork a track, you will find that the original version is always the best and the purest.

I usually close with a big ravey tune - or something with a lot of emotion that people are gonna go home and remember.

Like I said before, I haven’t had a job 

Enrico Sanguliano - "Astral Projection".

Producing is the best way to break into music - nowadays anyone can DJ - it’s really easy with the technology. But producing is a completely different ball game and takes years to master.

⁠I don’t really think there is a worst set, I’ve probably dropped a set that isn’t up to usual standard. But I’ve never car crashed a set or anything.

I just add a few new tunes each week I want to play and add them to my collection, which is really big now, then I just feel the vibe of the club and see what I think the crowd is looking for.

[quote align=right text="anyone can make industrial, it is so easy, and it sounds terrible. But some people like it, I guess. It just takes 0 talent to create"]

Human traffic

⁠I’ve never read a book, I don’t think

⁠Enrico Sanguliano dropping astral projection at WHP back in 2017 – goosebumps.

MXGN - he is a very underrated producer.

Industrial DJs and producers - anyone can make industrial it is so easy and it sounds terrible. But some people like it I guess. It just takes 0 talent to create.

Producing.

I don't really know?!

I have no regrets can’t have regrets in life there is no point.

Nothing, my life is great.

Collaborations are a great experience to receive and give new knowledge.

⁠Feeling the vibe of the room. If you are opening, don’t play a set full of bangers; you need to warm up the room first. The same goes for when you are closing: don’t play low-energy tracks, or everyone will leave.

After a weekend of touring, I like to go to the gym and go to the studio to unwind.

⁠I can’t live without the FabFilter plugins.

Art. Always.

Sara Landry really helped me understand the scene and taught me many production techniques.

Seamus Coleman.

Laptop.

⁠The strangest place I’ve made a track is probably in the backstage of Prty festival in Glasgow, I was on in 2 hours so made a quick idea hoping to open up the night with it and it ended up being a good fit so I dropped it and it went off!

Filth on Acid studio in Amsterdam.

My biggest frustration is probably people wanting to be DJs now for the attention. People just hop on trends, and when one dies, they hop on another. It’s stupid. They don’t wanna put in the hours but want everyone to know their name.

Drumcode - it was probably the reason I started to produce techno.

Making music can be very frustrating, sometimes you go in the studio and nothing will come but you have to keep trying over and over again.

Be grateful.

Enrico Sanguliano’s music

Be unique

...nerd!

That it was sick…

100% music can change a lot, including the world

Enrico Sangiuliano ?

Go to a proper techno rave.

Find Alex Farell on Instagram.