Spotify has taken my “LIGHTS OUT Podcast” down

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LIGHTS OUT Podcast –


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What has been a real issue on SoundCloud is now an issue on Spotify. I know that all the producers and labels are happy when I showcase their music on my shows. This system is broken and dysfunctional. Music that gets promoted via podcasts and radio shows gets blocked by a flawed copyright monitoring system. It’s not humans that make those individual decisions, it’s algorithms.

Worry not, the podcast and its individual shows is still available on SoundCloud, MIXCLOUD and via RSS feed:


Dear Spotify, if you read this: the entire fucking point of a DJ mix is the DJ playing records of other people. That promotes the record, the artist and the label. This is how underground electronic music works. I can’t believe I have to explain this to the world’s biggest music streaming company. You wanted podcasts, you get podcasts. Now, you kick the podcasts of DJs like me. This is ridiculous.

P.S.: The system is very slow. It took them around 2 months to find out that I promote other people’s music on my podcast, which is the entire point of playing and recording DJ sets and making them available as podcasts.

The Ultimate Harmonic Mixing & Composing Chart


As both a DJ and composer, the Circle of Fifth or the Camelot Key Wheel system — amongst others — have always been handy tools for me to write and mix music harmonically. There are just too many options in chord progressions than I could ever have in my memory (maybe you can, but I don’t). Plus, I personally use 3 different DJ applications and 3 different DAWs for music production alone, for different purposes.

So yeah, I could always have a look at above mentioned helpers to orientate myself through the notes and chords jungle, in case needed, which is not always the case. I have the most common chords in my head. Just not always.

As a composer I’m fine with the musical key/chord system, i.e. “A minor“, but as a DJ it isn’t very likely (for me, again) to remember all the musical chords to know what to mix into what. So, smart people came up with different systems like the Camelot Keys (Mixed in Key, which I prefer, because of its accuracy) or the Open Keys (Traktor). Which is basically a range of 12 keys for each gender, major and minor chords. “A minor” is 8A (Camelot Key) or 1m (Open Key). In a nutshell: if you mix 1A into 2A (and so forth, up until 12A and then into 1A again) you’re generally fine. Your mixing transitions will always be harmonic, no key clashes. This example is the very basic part of harmonic mixing or composing. And also a bit boring if you do that all the time. It becomes really good and interesting when you use all the options within the world of chord progressions.

What I was missing in all those years of composing and DJing was ONE chart (to rule them all) that shows me ALL key/chord systems and their equivalents, their piano keys (very useful for composing) and their harmonic keys/chords. I searched the net in order to find out if someone did this, but no one did. At least I couldn’t find it.


So, I did it myself. 8 hours work and I had what I was looking for. And since I guess this could be useful for every musician/DJ, I want to share it here with you. This is how it looks like (click to open the full resolution file):

The Ultimate Harmonic Mixing & Composing Chart

You can download the high-res JPG above, print it out and use it for yourself, if you like. Here’s a PDF and the original EXCEL version of it, in case you want to edit/modify something for your needs (let me know when you find mistakes or when you improved it!):



Let’s take an example for a composing or mixing situation:

The chord we’re working with at the moment is A minor (or 8A, or 1m). What shall be next? Everything in the table below — around the 8A — is possible, it will be harmonic. The closer to the 8A it is the more harmonic it’ll be.

Composing Keys

DJ Keys

Harmonic Keys

Western Music Scale
Piano Chord Keys
Camelot Key
Open Key
Scale Degree
DJ Keys up/down
D minor D | F | A 7A 12m Fourth (Sub-Dominant) -1
C major C | E | G 8B 1d Relative major

A minor

A | C | E



Same key (tonic)

E minor E | G | B 9A 2m Fifth (Dominant) 1
B-flat/♭ minor A# | C# | F 3A 8m Low energy boost 7
B minor B | D | F# 10A 3m High energy boost (supertonic) 2
A-flat/♭ minor G | B | D# 1A 6m Low energy drain -7
G minor G | A# | D 6A 11m High energy drain (leading tone) -2

But your decision what to do next is depending on the purpose. What kind of “feel” do you want to give your mix or composition?


Here are some possible chord progression scenarios, working with the Camelot Keys (which I prefer, at least for DJing), starting with 8A:

The “River”

That’s how I call it, it’s kind of a “secure standard”, nothing special, it’s just flowing along:

8A > 9A > 10A … 12A > 1A > 2A and so forth, until you’re at 7A and back into 8A again

Audio sample:

Music used: Ingo Vogelmann “Albert” (8A) > Tripswitch “Proximity Effect” (9A) > Mike Griego “What Lies Beyond” (10A) 

You can’t go wrong with this one, you just rock “around the clock”. Depending on the energy level of actual music/sequence used, transitions changes can be very energetic, though.

The “Little Ocean Wave”

The energy of this chord progression has the shape of an ocean wave or a sawtooth:

8A > 9A > 11A (+2 DJ keys, high energy boost) > 12A > 1a and so forth

Audio sample:

Music used: Ingo Vogelmann “Albert” (8A) > Tripswitch “Proximity Effect” (9A) > Bobby Deep “Egopunk” (11A) 

You can do this once in a while to give your mix a little energy boost, which makes it more interesting than the “River”.

The “Big Ocean Wave”

8A > 9A > 4A (+7 DJ keys, low energy boost) > 6A (+2 DJ keys, high energy boost) > 7a and so forth

Audio sample:

Music used: Ingo Vogelmann “Albert” (8A) > Tripswitch “Proximity Effect” (9A) > Michael A “Storm” (4A) > Robert Babicz “Kinect” (6A) 

Here you have a longer and progressive wave of energy rising, until it falls back to normal at 7A again, just like an ocean wave crashing and the next one building up again.

The “Wild Ocean”

It’s a bit stormy, and the waters stirred up, but everything is still harmonic and in place. This is the most “interesting” way of mixing, things shouldn’t become boring:

8A > 8B (relative major) > 9A > 4A (+7 DJ keys, low energy boost) > 4B (relative major) > 6B (+2 DJ keys, high energy boost) > 7B > 2B (+7 DJ keys, low energy boost) > 4B (+2 DJ keys, high energy boost) > 5B and so forth

Audio sample:

Music used: Third Son & Wally Lopez “Geometry” (8A) > Ingo Vogelmann “Empire On Fire” (8B) > Antrim “The Mystic Lovers” (9A) > Michael A “Storm” (4A) > Raw District Feat. Jinadu “Taking You Down” (Habischman Remix) (4B)

I could make up a hell of a lot more examples now (with even sillier names), but you most probably already get the idea. The options are really endless, and you’ll always be composing or DJing harmonic. The above scenarios are just examples. Find out what works for yourself, I’m sure you’ll have fun experimenting with chord progressions, using this nifty chart. Oh, and don’t mind the silly names … it’s just about giving things a name. 😉

It’s free! Download, share, modify, re-publish and generally do with it whatever you want. But please, don’t pretend you did this. Credit would be nice (and fair), but is no condition.

Now, if you’d head over to bandcamp and buy my music, that’ll be rather nice:

Update, January 2017

This is how it looks like when someone make a huge print of it, for the studio.

A Little Touring In 2015

There are some dates flying in for 2015 already, and I wanted to let you (hello promoters!) know early, so maybe you’re interested in having me, once I’m in the proximity.

Right now it looks like this, half of it is confirmed, I will announce officially — incl. venues — when 100% confirmed:

Date Country City
January Spain Malaga
April /May USA Various
June 10-12 Russia St. Petersburg
June 18-21 Denmark Horsens
July Germany Berlin
August Norway Møre og Romsdal

Let me know here, so we can work something out.

DJs and Mental Health: Electronic Music’s Last Taboo

One in four of us will struggle with mental health issues at some point in our life. It’s something however that a very small segment of the DJ community has spoken openly about. So how prevalent is it among the touring DJ scene, and why does it appear to be the last taboo to be broken?

Very interesting read.

via DJs and Mental Health: Electronic Music’s Last Taboo | DJBROADCAST.NET.

Things That Don’t Actually Make You A Better DJ

I thought all has been said about DJing. I was wrong. This is the best article on DJing I have ever read: Things That Don’t Actually Make You A Better DJ |*

This just FYI: I grew up playing vinyl and switched directly from there to laptop — never had a CDJ phase. Today I play with a laptop, FLOW and Controller. If someone likes to think I’m not a real DJ (anymore), I suggest you give me 2 records, 2 turntables and a mixer, and I show you.

*Via Funkagenda.