Some artists build tracks. Others build entire channels for connection. For Berlin-based selector, producer, engineer, and label head Just_Me, the project has always been about more than just pressing play – it’s about pressing ideas into wax, giving edits a second life, and keeping one foot in the booth while the other tweaks compression settings in the backroom.
With releases on labels like Berg Audio, Tied, Hedzup, and now his own imprints Interkom Records and Coast2Coast, Just_Me has carved out a space where ’90s HipHop nostalgia rubs shoulders with sleek, future-facing house grooves – always with that signature bounce you’ll clock on the floor before you even clock the name on the sleeve.
His latest project, “Backspin”, is the first vinyl statement on Interkom: a sci-fi arcade ride through the sounds that shaped him. Add in a heavyweight remix from Harry Wills, a new education platform called Headroom, and a Berlin basement or two still ringing from one of his sets – and it’s clear he’s not just mixing tracks, but whole worlds.
In this interview, Just_Me opens up about studio accidents turned club weapons, HipHop forever, the science of the bounce, and how staying patient, curious, and a little stubborn keeps the signal clear in a city that’s never quiet.
Torture the Artist: Hey Just_Me, tell us something about your day – feel free to include coffee, compression settings, or Berlin’s latest attempt at spring.
Just_Me: Hey, currently enjoying a surprisingly nice day outside with an espresso in hand. No complaints!
I took my time with this one to explore sounds and themes that have shaped my taste since I first got into electronic music.
Torture the Artist: “Backspin“ is the first vinyl release on your label Interkom Records. What does this release mean to you – and is there a reason it sounds like something you’d hear in a sci-fi arcade in ’98?
Just_Me: Yes, the first vinyl release on your own label is always going to be special. It’s also my first solo EP this year. I took my time with this one to explore sounds and themes that have shaped my taste since I first got into electronic music. I’m a ’90s kid, so that sci-fi arcade vibe is fully intentional.
Torture the Artist: You got Harry Wills on remix duties for Backspin. How did that collaboration come together, and was he legally required to bring the bounce?
Just_Me: Harry’s been a friend for a while. I actually sent him the original as a promo, and he really liked it. He ended up playing it out a lot, so getting him on the remix felt like a natural fit. As for the bounce… not sure if it was legally required, but it’s basically his signature move.
Torture the Artist: Interkom started digitally before moving to wax – was that always the plan, or more of a “let’s test the waters before we press plastic” kind of approach?
Just_Me: Interkom has always been about having an outlet for self-releasing. I like the digital side of it because it lets me put out music more frequently. The vinyl release came about naturally – the tracks on the record were getting the most love from promos and had solid reactions on the dancefloor whenever they got played out.
I’ve always been into digging for lesser-known artists and albums from the ’90s – stuff that wasn’t necessarily mainstream but still feels timeless.
Torture the Artist: Your other label, Coast2Coast, blends HipHop and House with a clear ’90s influence. What makes that era so timeless for you – and how do you keep it feeling fresh?
Just_Me: I grew up on MTV-era HipHop and CDs – shoutout to my parents for that early music education – so there’s always been a deep connection to that time. My label partner Chad Andrew shares that love, so launching Coast2Coast together just made sense. I’ve always been into digging for lesser-known artists and albums from the ’90s – stuff that wasn’t necessarily mainstream but still feels timeless. A lot of those end up as soundtracks for my car or U-Bahn rides. We try to bring some of that energy into our releases, both as a nod to the artists we grew up with and as a way to keep those sounds alive, but with our own spin.
Torture the Artist: Let’s say you had to do a four-deck set but could only play ’90s HipHop instrumentals. What’s one track that would absolutely stay locked on a channel?
Just_Me: 2Pac (feat. Daz Dillinger, Kurupt, Redman, Method Man) – Got My Mind Made Up. The artist lineup on that track? Unreal.
Torture the Artist: What’s your production setup like these days – deep and modular, or a simple affair with one or two trusty tools?
Just_Me: Definitely more of a simple affair these days. Still hybrid, but I’m trying to get locked in and write ideas down quickly. The goal is to stay in the flow as much as possible.
Torture the Artist: Do you approach HipHop edits and House originals differently in the studio, or do they start from a similar spark and split paths later?
Just_Me: Yeah, I approach them quite differently. With the HipHop edits, we usually go in with a few prepared ideas or samples already in mind. For my originals, it’s more of a “go with the flow” situation.
Torture the Artist: Are you more of a “loop and layer” producer or someone who starts with a full structure in mind from the first kick?
Just_Me: Loop, layer, and I sometimes over-produce. I like to have a lot of ideas and options to combine and keep things interesting in a track. Plus, you have to leave room for happy accidents.
Torture the Artist: Ever had a session where something totally random – like a mis-click, a late-night vocal take, or a synth patch you never use – turned into the whole track?
Just_Me: Absolutely – some of my best ideas have come from moments like that.
Torture the Artist: You’re also an audio engineer – how much does that technical brain help (or haunt) your creative one when you’re producing?
Just_Me: I try to keep them separate so I don’t get carried away with technicalities when writing music. It’s definitely helpful when I’m at the mixing stage though.
Torture the Artist: Ever spent hours tweaking something that no one will ever consciously hear, only to delete it later and call it “part of the process”?
Just_Me: Yup, been there plenty of times. These days I’m trying to do less of that though, since time’s a rare commodity.
Torture the Artist: Tell us about this new video content project – what inspired it, and can we expect more mixing advice or more “how not to EQ like a lunatic” moments?
Just_Me: My new project is called Headroom – it’s a collaboration with Trackstack on their new platform, Studio. On the channel, I share mixing and mastering tips based on what’s actually worked for me and my clients over the years. It’s all about practical, tested techniques – not theory for theory’s sake. And yes, you can definitely expect a few “how not to EQ like a lunatic” moments in there. One of the goals is to build a community of artists who care about their sound and want to keep improving.
A good mixdown is 90% of what makes a track sound good.
Torture the Artist: What’s one thing you wish more people knew about the mixing stage of a track? Feel free to rant, we’ve got time.
Just_Me: A good mixdown is 90% of what makes a track sound good. It can be the difference between a DJ playing your tune or skipping it. What a lot of people don’t realize is how closely mixing is tied to production. If your sound selection isn’t right from the start, no amount of mixing will fix it. The best mixes usually start with smart choices in the production phase.
Torture the Artist: You’ve released on labels like Berg Audio, Tied, Hedzup Records, and more. Is there a particular release that felt like a breakthrough or shifted your path?
Just_Me: There are two releases that really stand out, especially from the early days of my Just_Me project while I was still living in London as a student. The first was my debut vinyl release on 1trax in 2013 – 1TRAXLTD 2. That felt like a real milestone at the time. The second was my 2014 remix of Todd Terry’s classic “Bounce to the Beat“. That being said, every release along the way has played its part in shaping my path.
Torture the Artist: Berlin is home now. Has the city shaped your sound, or are you still trying to find a grocery store that sells decent cheddar?
Just_Me: Berlin has definitely played a big role in shaping my sound. I’ve been here for over nine years now, and in that time my style has evolved a lot. It’s also the city that allowed me to go full-time with music, which was a big goal of mine. Like any place, it has its ups and downs, but it’s still one of the best cities for people who are passionate about music and the scene around it. I’ve made lifelong friends here through music, which I’m really grateful for.
Torture the Artist: Is there a sample you’ve been trying to clear (mentally or legally) for years and still can’t let go of?
Just_Me: Not yet, but I’m sure it’s only a matter of time – especially with some of the stuff we’re working on for future Coast2Coast and Retrospect releases.
Torture the Artist: You’re contributing a mix to our art:cast series – what can listeners expect from it? A story arc? A head-nodder’s dream? A subliminal message?
Just_Me: It’s a blend of everything I like, shaped by the music I’ve been into since I was 16, right up to what I’m playing today. There’s definitely a nod to my roots in the genre, but it still reflects where I’m at now.
Torture the Artist: Was there a track in your art:cast that made you hesitate – either because it’s too personal, too unexpected, or just too deadly?
Just_Me: Not really, but I have been playing a lot more of my own productions lately, which is something I used to be a bit hesitant about a few years back.
A few people in the crowd started stripping down to their underwear and everyone else followed.
Torture the Artist: What’s the weirdest gig moment you’ve had so far? Bonus points if it involves a cable failure and a crowd singalong.
Just_Me: One that stands out was an open-air gig at the old IPSE club in Berlin. Around 6am, during a B2B with a good friend of mine, a few people in the crowd started stripping down to their underwear and everyone else followed. It definitely wasn’t that kind of party, but we took it as a sign they were really enjoying themselves.
Sometimes it’s smarter to delegate so you can focus your energy on the parts that matter most to you.
Torture the Artist: How do you balance the mental headspace of artist, label head, engineer, and content creator without combusting – or is that the secret sauce?
Just_Me: It’s not always easy to do everything without getting a bit overwhelmed. Lately, I’ve started reaching out to people who can help with tasks they’re better at – social media being a good example. Sometimes it’s smarter to delegate so you can focus your energy on the parts that matter most to you.
Torture the Artist: If you could bring together your HipHop side and your Minimal House side into a full-on concept album, what would it be called – and who would narrate it?
Just_Me: I would call it “Back 2 Basics” and would have Danny Tenaglia narrate and guide you through the journey. Heavy ’90s theme!
Torture the Artist: Finally, what’s next – musically, mentally, or metaphysically? More Interkom, more edits, more basslines, or just a nap?
Just_Me: There’s lots of new music being finalized – hoping to start releasing some of it in the second half of the year. I’m also putting a lot of focus on Headroom, with some exciting videos and collaborations on the way. Last but not least, we’ll host more in-store sessions and events in Berlin under the Interkom umbrella. Squeezing in a nap somewhere between all that will count as a win.
Words by Holger Breuer
Torture the Artist 