The first stamp in Timo’s DJ passport came in 1995, with his debut appearance at the Lakota club in Bristol. ““I sent my first record out with a mixtape to promoters and two came back and invited me to play, one of them was the Lakota,” he recalls. “I had a residency there for three years through Leon Alexander who later became my manager. I was playing regularly with people like System 7 and Carl Cox and in the back room it was drum and bass guys like Reprazent.”
If ‘Doom’s Night’ blew up the spot, then his solo albums – and we are now on his third – are where he’s forged a reputation for brave collaborative choices and cinematic sounds. Although Maas has been widely described as a purveyor of techno, tech house or a whole load of other genre prescriptions, the striking thing about his music is the effortless ease with which it morphs chameleon-like from one style to another.
This eclectic approach makes for a great listening experience, yet Maas insists he has also found room in his extensive club sets to play many of the tracks from his album. “Well, I do play certain tracks off my album, in fact I’ve played many already,” says Timo. “But it’s not just dance music, it’s also a way of expressing myself more with my production partner, Santos. I’ve never only produced dance music. It’s only my third full artist album, but I’ve always done this. I don’t pay too much attention about anything fitting into a genre. I love so many different styles of music and I try and interpret them in my own way. This is how it comes out.”
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