If our most conservative calculations are consistent, Regen, aka Milos Pavlovic, will be assuming a concrete position amongst the Techno fraternity for many years to come and this week’s broadcast resonates the sentiment in its entirity. From the age of sixteen it’s been some eleven years since he began immersing his soul in electronic music, in which time a residencey at Belgrade’s infamous club, Omen, a flag bearer at Ilian Tape and a stern presence on Europe’s calendar all materialised as a pharmaceutically coerced similcast that’s perhaps more inclined to march through dense fields of caustic static than to acknowledge an amnesty with mediocrity.

We’re hoping an uncompromising sheet of precipitation will commence its welcomed assault on Belgrade as this goes live, as it’s provided an inspiring environmental haze throughout his life, so if our most pragmatic expectancies eventuate, the soundtrack to a leftfield descent into a Serbian incursion will implicate the most despondent listener.

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Kn: Combining the basics of music theory at the age of eight, with a new found passion for break dance culture and electronic beats would of made for an interesting period. Was your formal training something you pursued into your teenage years? And how did the two elements influence you during your studies at the Junior Music School of Belgrade?

R: Well, it was really hard to put these two together at that age, at this particular period when electronic music was something really new to my ear, not only for me, but many people I was surrounded with. At the age of 13 I could only admire it and enjoy it as much as I could and be optimistic about it. Later on, music theory really helped me when I started producing, with too many things to cope with, I’ve had one less to carry about. I also think that Junior Music School training helped me a lot with the feelings towards music.

Kn: You discovered electronic music at a young age during travels within England where you moved around regularly. Where there any defining moments growing up that you look back on now that have heavily influenced you as an artist?

R: At that early age it definitely didn’t influenced me as an artist. It was just a sign for a path I should take for the future. What really influenced me at that time were the parties in Belgrade and the entire local rave culture that was rapidly growing from week to week. It was a different time and people were so relaxed about it. It was all about music in these days. I have a feeling that this vibe and phenomenon is still deep inside of me and defines me even today as a person.

Kn: Looking at your musical development, how would you say your music and approach have evolved over the past few years?

R: I’ve always tried to stay true to the sound I’ve loved since the beginning and this is what really crafted me as a music producer and a dj over the years. At one point, in the period of 1994-1997, I’ve felt in love with this raw techno analogue sound. Although I have had oscillations and different periods, this is what I’ve been in love ever since and it kept me approaching in the same way when playing out or producing.

Kn: In recent years we’ve seen an alliance forged with Ilian Tape, playing regularly at their club events in Munich and releasing some amazing music on the label. The recently released track “Black Puff” celebrates some of your brightest production efforts. How did the relationship come about?

R: First of all, thank you for the nice words, from my perspective it’s always an honor to hear such nice words about my music. I have met Dario in Frankfurt for the first time, at a mutual gig, for the friend’s birthday in Robert Johnson club. Since then we were in contact almost every day and I kept sending him all the stuff I was working on. Dario and Ilian Tape crew have been a great influence on where I am today, musically.

Kn: What projects and/or collaborations do you have scheduled for release in the near future? Are there any left of centre projects you’ve been considering that are quite different to what you’ve achieved in the past?

R: Nothing scheduled and confirmed at the moment. I have been sending some demos lately, just a couple of tracks that I did some time ago. I have been also working hard on some new stuff with different approaches and styles.

Kn: ‘Share’ conference was recently held in your city of Belgrade. A three day event spanning across many venues and focusing on the musical development of the city. What sort of impact does the conference leave on the city and its artists?

R: Share Conference has been great for Belgrade and all the participants, artists as well, in my opinion. It has left a huge impact with a day and night concept, day being educational in many fields and perspectives and night for presenting music of the artists that are hard to be seen so often in this region. I can’t really talk for others, but I have managed to go to some lectures during the day and I’ve heard many great speakers and presenters. One of the most interesting ones for me this year was by Khannea Suntzu on Trans-humanism. Pretty depressing lecture, but it definitely made me think about it and get involved. Another great thing about Share Conference is that it’s a great place to meet people, artist, lecturers; it’s a typical festival atmosphere.

Kn: Where do you surround yourself in your home town when you feel the need for inspiration? Do you have any rituals or special places that fill you with energy? And how does this effect your production process?

R: Interesting that you’ve asked about it, at the time I started my Regen project in 2008 (Regen meaning rain in German language), I was hugely inspired by the weather and the city of Belgrade. Rainy day in Belgrade is really something special, perfect for sitting at your studio and trying to feel this special mood that is in the air. It is super quiet and relaxing and that influenced the mood in the tracks from the beginning of the Regen project enormously. Aside from that, I don’t usually seek inspiration. Most of the time I’m very relaxed about it, I try not to stress myself in that way.

Kn: Looking into the future, where would you like to see yourself five years from now, both musically and personally?

R: Hard to say! I try to stay focused on what I’m doing and optimistically hoping for the best! Although being 38 at that time will be interesting to see what will happen.

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