Artist Profile: Timo Maas

Frankfurt's Timo Maas is a true pioneer of the electronic dance music genre in every sense of the oft-used expression. For over four decades, he has produced and presented an innovative and genre-defying sound, which seamlessly blends elements of techno, house, trance, and ambient music. This, of course, is coming way before the genre-hybridities that are now virtually standard for any DJ success story. But let your ears show you precisely what Timo Maas has to offer as he returns to Control Club on January 24.

Timo Maas has consistently pushed boundaries with every release, irrespective of genre and presentation, as a talented DJ, a versatile producer, and a respected label owner. It is a story that goes back to the 90s when he kickstarted his career as resident DJ at Hamburg's legendary club The Tunnel and released his debut track, 1995's The Final XS. A couple short years later, however, came the juggernaut that was Dooms Night. Dooms Night was Maas' absolute banger of a remix for Azzido da Bass that really put the German wizard on the international map. Soon after, everyone from Madonna to Paul McCartney, Jamiroquoai to Tori Amos sought his studio magic. All of which would result in acclaimed, top-selling, and in the case of his McCartney/Wings remix alongside James Teej, Nineteen Hundred and Eighty-Five, a Grammy nomination.

From the moment Dooms Night dropped, Maas's career was in true overdrive, going strength to strength in all aspects of the game. During those days, he kickstarted a long and fruitful 15-year DC-10 residency. Maas would also become a staple of legendary spaces worldwide, like New York's Twilo (as a frequent Deep Dish collaborator and the place I was first introduced to both). Tresor, Ushuaia, and The End also formed lasting relationships, providing top-level booths for Maas' journey-style sets. 

By 2001, it was time to start thinking about original albums;. However, a remix-collection compilation, Music for the Maases, was released prior; it was Loud (2002) that acted as his official debut. Release via Paul Oakenfold's Perfecto imprint and co-produced alongside prolific German Martin Buttrich, Loud marked some deviations from his previous work. For example, it features the track Help Me alongside Kelis. Fusing atmospheric soundscapes with pulsing beats and haunting vocals is a perfect example of Maas' ability to create intellectually engaging and emotionally charged music. Another track off Loud that took on a life of its own is To Get Down. Used across media, film, and soundtracks, it has been featured everywhere, from The Italian Job (2003) to FIFA. In 2005, Maas and Buttrich redeemed for the Loud follow-up, Picture, albeit this time released via Nick Warren's Hope Recordings. 2010 saw a Timo Maas contribution to the famed Balance Mix Series, a two-disc collection of special edits, tracks, and features.

2010 also saw the launch of Maas label, Rockets & Ponies. The label, which was early supported by Ricardo Villalobos and Carl Cox, also acted as host to Maas's third album, Lifer (2013). However, Rockets & Ponies would not only be a host for Maas's music. It has steadily released underground leaning house and techno for a decade. Chi Ka Pass, Ion Ludwig's remix of Acid Mondays and Sebastian Mullaeart's remix of Moby's Porcelain are but a few label standouts. However, artists like Riva Starr, Luna City Express, Adam Port, Sante, Of Norway, and more.

Maas' influence extends far beyond his own discography. His impact can be felt across the work of new artists and, quite frankly, created the underground sounds and nightlife infrastructure as we know it today. In an era when electronic music is increasingly dominated by commercial interests, Timo Maas stands out as a true artist driven by a love of music and a commitment to innovation. On a 30-year quest to deliver music and culture to dance floors and speakers worldwide, it is the core of the man's DNA. So, come through on Saturday and see for yourself. Trust me, as someone who has been experiencing Timo Maas since the early 2000s, it is underground dance music as it is meant to be.