The Berlin native got his start in the late nineties, when he began organising open-airs just outside the city. His selections — a mix of percussive and dub techno — and technique behind the decks began generating wider attention and laid the groundwork for his meteoric rise. In 2009, he founded Dystopian as a club night and haven for dark, industrial-leaning techno, sharpening his skills as a resident DJ. A year later, he landed his first booking at Berghain. He's now regularly billed at the vaunted Berlin institution, whose gothic proportions (and legacy of closing sets that extend well into Monday morning) are ideally suited to his sleek, exploratory approach.

Rødhåd now holds down an intensive tour schedule, but he’s also found time to fine-tune his production chops. Dystopian grew into a record label in 2012 and was baptized by Rødhåd himself, later bringing in Recondite and Alex.Do. Rødhåd also released a minimalist single on Belgian label Token, and the ambient drones on 2015’s Kinder der Ringwelt and Söhne Der Erde show him venturing further into atmospherics. Rødhåd also designed the sound for Israeli artist Alona Rodeh’s A/V installation “Safe and Sound,” which was presented at the Künsterhaus Bethanien in Kreuzberg in 2014.