Interview Editing Mike Moggi Mannix

Some trips change your calendar; others change your code. For David Meiser, Spain’s steadfast techno craftsman, a first tour of the United States did both.

It began like any working DJ’s week—airport coffees, an inbox full of flight rebookings— that turned into something closer to a rite of passage. Chicago welcomed him like a city-wide jam: house, funk, soul, and groove colliding in a free, day-long park party where even people stepping off river taxi boats wandered over to dance.

Detroit, by contrast, felt like a laboratory: a small club crammed with makers, half the floor made up of DJs and producers watching his hands as much as their feet, studying how he connected machines and sculpted the set in real time. That axis—Chicago’s open-air democracy and Detroit’s maker-space intensity—gave Meiser a stereoscopic view of the culture he’s spent years serving from the underground up.

But the real plot twist happened between the gigs. Stopping by Underground Resistance’s base at Submerge—intending only to look at the building from the outside—Meiser was waved inside by “Mad” Mike Banks himself. He was shown the machines that forged the template. He was shown the machines that forged the template — the 909, the 303, the 808 — sitting there like relics in a temple to rhythm.

For Meiser, a lifetime spent channelling the soul of techno from afar suddenly condensed into a few square metres of Detroit concrete. “It was magic,” he says later, eyes gleaming in memory. “That’s the only word I can use.”

This is David Meiser at a pivotal point in his story — the Spanish artist who’s built his career on precision, philosophy, and a deep respect for techno’s original pulse. For over a decade, he’s been touring the world with a sound that bridges brutalist groove and emotional depth.

From the sweatbox clubs of Bogotá to the open-air raves of Buenos Aires, his sets are devotional experiences: hypnotic, mechanical, and human all at once. But this trip — this unplanned communion with the roots of the genre — stitched a new thread into his personal mythology.

 

Under the Bridge – Chicago’s Warm Welcome

 

Mike Mannix: So just give us the lead-up, man. You’ve been really busy in South America these past years. How did the whole Detroit and Chicago thing come about?

David Meiser: I didn’t really know what to expect, Mike. It was my first time playing in the U.S. You grow up hearing that Detroit is the birthplace of techno — that it has this magnetic pull. But honestly,

I didn’t know what the scene would be like now, because while techno was born there, it evolved so much in Europe

He laughs, shifting in his chair. “I had this idea that the U.S. would feel like a pilgrimage — a kind of return — but I also wondered, what if it’s quiet now? What if it’s more nostalgia than energy?”

Mike Mannix: So, Chicago first, right?

David Meiser: Yeah. Two totally different events. Chicago was my first stop. It’s an open city, full of groove. You can feel the house culture there — the roots are alive. The event was called ‘Under the Bridge,’ set in a public park beside the river. It was free entry — totally open. People were showing up from everywhere.

He grins, gesturing animatedly. “I swear, some people were literally walking through the park and just stopped when they heard the bass. And the funniest part? You could see taxi boats stopping by the river. People would hop off because they’d heard the music echoing over the water, and then they’d just *join in dancing*! I loved that.”

Mike Mannix: That’s wild! Totally organic — like house music itself.

David Meiser: Exactly. There was this sense of togetherness.

Chicago has this openness to different styles — house, tech-house, techno, funk, soul — all blended

The crowd didn’t care about genre; they cared about feeling. It was like being part of a living culture where music is part of everyday life. People were dancing, smiling, no attitude — just energy. It reminded me why I fell in love with this scene.

He pauses for a moment. “You know, there were people there who knew my career, and others who had no idea who I was. But they came anyway, because the music caught them. That’s the magic of Chicago — that mix of community and spontaneity.”

Mike Mannix: Sounds like the heart of house still beats there, man.

David Meiser: Totally. Chicago has an open soul. You can feel it the moment you plug in your gear.

 

Detroit – A City That Listens with Its Hands

 

David Meiser: Then came Detroit. And that… that was another world.

His tone shifts — quieter now, reverent.

“Detroit is serious. People there know. The city breathes music, and the crowd isn’t just there to dance — they’re there to study

It’s full of DJs, producers, engineers. When I looked up from the decks, I realised half the dance floor were producers. They were watching how I worked the machines, how I connected everything, how I built the layers.”

 

 

Mike Mannix: Like being surrounded by scientists of sound.

David Meiser: Exactly! It was the first time I felt that the audience was analysing every move. But in a beautiful way. They weren’t there to judge — they were learning, absorbing. Detroit has this deep culture of creation. There’s so much talent there, not just the big names everyone knows, but hundreds of young producers grinding in their home studios, pushing the sound forward.”

He smiles. “It’s like being in a club where the walls are vibrating with decades of knowledge.

You can feel the legacy of Jeff Mills, Mike Banks, Robert Hood… and all these kids still carrying that flame. It was humbling, man.”

Mike Mannix: It must’ve felt like performing in front of family — even if it was your first time there.

David Meiser: Exactly. That’s the word: family. Everyone respects the craft. I played a small venue, but it felt monumental. People weren’t just dancing — they were connecting. Watching their eyes as I manipulated the machines was incredible.

Then came the story that sounds almost mythical — the unplanned encounter that capped the trip.

David Meiser: We didn’t have an appointment. I just wanted to visit the Underground Resistance studio — to see it from the outside, maybe take a photo. I knew the store, Submerge, only opens a few hours on Saturdays. It was Thursday. So I went just to pay my respects, really.

He laughs. “But then… Mike Banks himself came out.”

Mike Mannix: The man himself?

David Meiser: Yeah! He asked who we were, what we were doing there. I explained who I was, that I just wanted to see the studio — and instead, he invited us in. Totally unexpected. He took us around like old friends. Showed us everything — the machines that shaped the beginning of techno: the original 909, 303, 808 — all there. It was like stepping into a sacred space.

He leans forward.

“Mike talked about how it all started — not as some plan to invent a new genre, but as an evolution of house music. They wanted to make something different, more mechanical, more forward. The word techno came after”

Hearing that from him directly was unreal. For me, it connected everything I’ve ever loved about this music.”

Mike Mannix: Man, that must’ve been special — standing where the roots literally live.

David Meiser: It was magic. That’s the only word. Being in that space — hearing the machines, the stories, meeting the people — it was like touching history. And then, something amazing happened…

He grins, shaking his head in disbelief. “Mike Banks gave me a pen and said, ‘Sign the ceiling. Be part of the story.’ I was like — what?! It was surreal. You grow up idolising these guys, and suddenly you’re asked to leave your mark on their wall. I’ll never forget that moment.”

Mike Mannix: You autographed the temple, mate!

David Meiser: Yeah! It still feels unreal. I told Mike about one of my favourite UR tracks ‘The SeaWolf’ — the one I used in a reel recently — and they actually had that vinyl there. I bought it, and Mike signed it for me. It’s on my wall now. Those two hours talking with him and Cornelius — about music, philosophy, life — it was something deeper than I expected.

Techno as Philosophy – The Art of Shadows

 

David Meiser: That’s the thing — these guys, they’re not just musicians.

They’re philosophers of rhythm. Talking to them felt like talking to monks of sound”

And that resonated with me because, as you know, I also write books.

He brightens. “My next one is called The Art of Shadows. It’s my first book to be published in both Spanish and English. It’s a compilation of my thoughts — some new, some drawn from previous works — structured as short reflections, aphorisms, about music, life, creation. I’ve always believed that words and sound feed each other.”

Mike Mannix: Beautiful title, man. When’s it out?

David Meiser: Hopefully around Decemeber. I’m finalising it now. Each reflection appears in both languages — side by side — so you can read them parallel. People always asked why I never published in English, so now there’s no excuse! You can follow my thoughts whether you’re in Madrid, Dublin, or Detroit.

He smiles again. “It feels right, you know? Writing keeps me grounded. The books are the roots of my life, and the music is the branches. They grow together.”

Mike Mannix: You’ve always had that dual energy — the sound and the philosophy. It’s what sets you apart.

David Meiser: Thank you, Mike. I just try to keep pushing forward, learning, evolving. For me, philosophy and techno are the same: both are about seeking truth through questioning and repetition.

The Underground – Where It Still Breathes

 

Mike Mannix: And now, after that Detroit experience, what’s next for you?

David Meiser: Funny you ask — I’ve just released my first track on a Detroit label called “Minimal Detroit”, it is led by Terrence Dixon (another of the key components of the sound of the city). That connection has already borne fruit.

He leans back, reflective.

“There’s something special happening in the U.S. I realised there are scenes I didn’t know existed — smaller cities, new collectives, hungry for underground techno. I want to go back”

The big names, the commercial acts — they come through occasionally. But the underground is still wide open.”

Mike Mannix: That’s true — the States can be a sleeping giant for underground European artists.

David Meiser: Exactly. I don’t see myself as a headliner, you know? I live in the underground. Maybe the upper part of it, but still — that’s my home. The energy, the authenticity — that’s where techno breathes. Touring South America all these years taught me that passion is everything. People there dance with their souls. Now I see that same fire starting to burn again in the U.S. I want to help feed it.

 

Techno Families – Across Oceans

 

Mike Mannix: This issue of the magazine is all about that — the Detroit family, the Dublin connection, the real underground spirit.

He laughs. “We’ve got you, Dave Clarke, Raul Rocha (DJ Roach) REOSC from Dublin front cover — he’s playing at the official UR afterparty at Tec-troit this year — Moses, Tec-troits co-organiser, Derrick Train from Soiree International, Thomas Barnett etc….”

David Meiser: That’s beautiful. It’s all connected. I spoke with Raul when I was in Detroit — he’s such a good guy. It’s funny how small the world becomes once you start talking about techno. Everyone’s a friend of someone, a cousin in the same family.

Mike Mannix: Exactly. The underground is a family. We might live thousands of miles apart, but we speak the same language — beats, groove, philosophy.

David Meiser: Yes. And

I love how people like Raul and Moses are protecting the culture. They’re not letting it be swallowed by corporations or trends. They keep it real. It’s pure — that’s what Detroit still stands for”

He pauses, then smiles warmly. “It’s so nice to see you dedicating this issue to that lineage. The real story deserves to be told.”

Synchronicity and the Spirit of Timing

 

Mike Mannix: You know, it’s funny how it all lined up — your trip, the magazine issue, everyone’s stories converging on Detroit. Synchronicity, right?”

David Meiser: Yes, exactly. Things happen when they’re meant to. I really believe that. This trip wasn’t planned months in advance — it just unfolded. And look how many connections it created. Sometimes the universe just whispers, ‘Now’s the time.’”

Mike Mannix: That’s the beauty of it — the flow. Techno isn’t just a sound; it’s a rhythm that extends into life itself.

David Meiser: Absolutely. You follow the beat — literally and metaphorically. Every decision, every flight, every conversation becomes part of the track you’re writing.

Mike Mannix: When you were in Detroit, half the crowd were producers watching you work. That must’ve made you more aware of your process. What’s your setup these days?

David Meiser: I still love machines. Analog, digital, whatever feels alive. I like the immediacy of turning a knob, shaping the sound in the moment. I think that’s why Detroit resonated with me so much — because they still respect the craft. The audience there noticed details like how I routed my effects or layered the percussion.

You can’t fake that. It made me raise my own bar”

Mike Mannix: That’s a high compliment — when the room full of producers nods in approval instead of heading to the bar.

David Meiser: Haha, true! That’s how you know you’ve done something right.

He pauses thoughtfully. “It also reminded me that the tools don’t make the artist. It’s about ideas, patience, and connection. Whether it’s a 303 or a laptop, what matters is the emotion you transmit. That’s the real hardware.”

You know, I think what moved me most wasn’t just meeting Mike Banks or seeing the 909s. It was realising that techno was never meant to be an industry. It was an expression. A way of dealing with life, with struggle, with the need to create. That’s the part I’ll carry with me forever.

Mike Mannix: Yeah, man. Techno wasn’t born to be polished — it was born to be honest.

David Meiser: Exactly. And I think sometimes we forget that in Europe — or anywhere that the scene gets too professionalised.

Detroit reminded me: it’s okay to be raw. It’s okay to be imperfect. That’s where the soul lives”

Mike Mannix: So what’s next, then? More gigs, more writing?

David Meiser: Both! I’ll be touring again soon — hopefully back to the U.S., maybe even Tektroit next year if things line up. And of course, The Art of Shadows— I can’t wait to share that. It’s the most personal thing I’ve written yet.

He smiles, that quiet confidence of someone who knows the journey is far from over. “For me, this trip was like pressing a reset button. It reminded me why I do this. Techno isn’t about fame. It’s about connection, curiosity, and constant evolution.

I’ll keep chasing that feeling — from Chicago’s open skies to Detroit’s underground floors.”

Mike Mannix: And we’ll be here watching the story unfold, man. You’ve earned your place in the lineage.

David Meiser: Thanks, Mike. Honestly, I’m just happy to be part of the family.

A Ceiling, a Signature, and a Circle Completed

 

If techno has churches, then the Submerge building is one of them. And on its ceiling now, among hundreds of signatures from those who’ve helped shape the sound, sits a new one: David Meiser, Spain. He didn’t go there looking for validation, but Detroit gave it anyway. Not with fame or trophies, but with something better — belonging.

And in this world, that’s everything.