Berlin music scene — Blog

Neva Demure is a genre-defying artist, songwriter, and multi-instrumentalist reshaping the sound of electronic and alternative music. Emerging from the New York club scene with her hyper-pop debut EP Shame to Vengeance, Neva first made waves through tongue-in-cheek, hyper-sexual lyricism and bold sonic experimentation.

Now based in Berlin, she enters a new chapter with the release of her debut album Antidote via Movement—one marked by emotional rawness, stripped-back instrumentation, and unfiltered storytelling.

Written and recorded in 2024, Antidote is Neva’s most personal work to date, delving into themes of mental health, love, identity, and her lived experience as a trans woman in today’s political climate. Her latest single, Unnatural, channels that intensity into a fierce blend of distorted guitars, ghostly electronics, and urgent vocals—offering a darker, heavier edge to her evolving sound.

What’s the story behind your debut album Antidote?

Each song is its own antidote. They are like different flavors meant to be taken for different problems, while you´re just trying to look for a one-size-fits-all solution. It's just that discontent with life that exists inside and you don't know why. Probably childhood trauma or something, you try all these easy antidotes instead of facing yourself. Drugs, sex, toxic relationships, spending money, career obsession. They just always come up empty. There's no solution to any of the songs, until the end of the album. Even then, maybe it's only a solution if you´re looking to find one. By that point maybe it doesn't even matter.

Was there a specific moment while making Antidote that felt like a breakthrough for you?

When I started I wasn't sure if I was going to be making an electronic album or not, I knew I wanted a bit of guitar on it but assumed I would still be programming drums and using a lot of synths, creating more of a modern pop album. It wasn´t until I wrote Trauma Curl and realised it needed real drums that the album started transforming into a type of electronic/live acoustic instrument hybrid. I feel like that moment set the sound for the rest of the album. It was way more interesting to have a live drummer than to program a bunch of breakbeats and complex rhythms. It feels more human as a result.

If Antidote were a film, what kind of visuals would it evoke, and who would direct it?

Claustrophobia, female lead who is crying a lot and smoking cigarettes, directed by gaspar noe climax vibe, a girl that likes to party wink wink.

As an artist navigating both the electronic scene and the queer music space, what changes do you hope to see in the industry for trans and non-binary artists?

I think there's a lot of assumptions about trans people in music and also just the music trans and queer people make and consume. I think it could be a lot uglier. I want more doom in trans music.

I´m really into Ethel Cain right now, her lyrics in particular. They are twisted. I like happy, hyperpop type music too but I feel like we need more of a sonic spectrum; I want to hear about trans people talking about how fucked up their lives are rather than this “I´m coming out”/”I will survive” anthem narrative. Where's our trans Kurt Cobain or Courtney Love?

The world is fucked, BRAT summer is a psyop. It doesn't matter if you're trans or not.

Berlin has a rich underground music culture. How has being part of this scene influenced your approach to music and performance?

I totally get the reason why, say David Bowie, changed his sound so drastically upon coming here. Even though the wall is gone, it still has a thick energy. I really enjoy living here, even though there's alot to dislike about it.

My friends and community are amazing, and people don't care about as much superficial stuff as they do in New York or Paris. Berlin´s history didn´t inspire me to make minimal synth music, but it did inspire me to say something true to myself.

Do you ever feel like music allows you to say things you wouldn’t otherwise say in words?

Probably not, I´m a yapper. I love talking. I could talk all day.

I like that in my music I don’t have to worry about being annoying. I can be funny, dark, heartbreaking, slutty, or whatever.

I like the idea of making my friends or fans think without having to actually talk to them. I like the idea of me putting my ideas into their head while they're cooking pasta or taking a bath.

What's your favorite/least favorite thing about making music?

Favorite thing is creating a world.

I loved making this album because I got to create a world to escape into lyrically, sonically, and visually.
Least favorite is probably the branding element. It feels like taking this baby you made, this whole world you put your heart into, and watering it down into something that feels like an advertisement.

Necessary evil, I'm actually starting to like it more I´m just really bad at it. I´ll get better.

What are you listening to at the moment?

LOL in preparation of the album release I've been listening to bossa nova music a lot. Like Girl from Ipanema, Stan Getz and João Gilberto style. It's driving my girlfriend crazy and she says it's elevator music but it has been calming me down. I've been listening to Coil alot as well. PJ Harvey and Björk are always mainstays. My friend Lexci reminded me of Pantera and I forgot how good they are.

Neva Demure on Instagram & Bandcamp

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Nadia Struiwigh, the Berlin via Rotterdam-based DJ, live performer and producer, returns to James Ruskin’s Blueprint Records this April with her new EP X1 Shift. Known for her hybrid approach to techno and ambient electronics, Struiwigh continues to refine her sound through hardware-driven experimentation and improvisation.

Following previous releases on Blueprint (XTERNALIA, 2022), Dekmantel (Birds of Paradise, 2023), Nous’klaer Audio (Pax Aurora, 2021), and Central Processing Unit, X1 Shift marks a new chapter in her evolving discography. Technically centred around tools like the Korg Electribe, Yamaha DX200, NI Maschine+, Arturia Minifreak, and a selection of software plugins, the EP is both a personal and sonic statement.

In 2024, Struiwigh also launched her own label, Distorted Waves, focusing on hardware-based and experimental electronic music.

As a performer, she moves fluidly between ambient and peak-time techno, with live sets ranging from beatless soundscapes to high-energy improvisations. Her versatility has seen her perform at both concert venues and clubs, including her recent residency at Tresor in Berlin. She regularly features on respected platforms such as Resident Advisor, Red Light Radio, Bleep, and Phantasy.

Beyond the stage and studio, Struiwigh collaborates with leading music tech brands and offers coaching sessions and production courses, supporting emerging producers worldwide.

What’s the story behind your new EP X1 Shift?

This EP actually came together about two years ago, and I really feel music finds its own perfect moment to emerge into the world. I’ve worked with James Ruskin before—he’s such an inspiring human being, always radiating positivity and realness. That’s something I resonate with wholeheartedly.

Around that time, I was in the midst of a huge personal shift—redefining who I am, the company I keep, and the musical direction I wanted to explore. I’d lost my way for a bit, and on top of that, both of my parents fell quite ill. Everything in my life got shaken up. Yet amidst the chaos, my own vision and career began to blossom with a wonderful, supportive team around me.

I feel extremely grateful. This EP has a darker edge because I was releasing so much pent-up energy, but I still wanted it to be hypnotic—a reflection of this alternate reality I was living in.

You have a deep connection to hardware synths and live performance. What’s your go-to piece of gear, and why does it inspire you?

That’s so true! I’m a big nerd at heart. Growing up, I always felt I experienced and saw things differently. My dad worked in technology, which was super inspiring—I think it rubbed off on me because I connect so naturally with music equipment interfaces.

My go-to piece of gear is the Korg Electribe EMX. I never go on stage without it. If I do, I feel exposed and less confident. It’s an older unit (early 2000s), so I even carry a spare just in case.

Rather than it purely “inspiring” me, it’s like we speak the same language. It delivers the sounds and grooves I want to share with the world.

For those discovering your music for the first time, how would you describe your sound in just a few words?

I’d say it’s otherworldly. I often feel like I’m not entirely present on this planet, so I channel stories from both the past and the future. Sometimes it’s techno, IDM, ambient... whatever resonates at that moment. It does have a strong UK influence, funnily enough, even though I’m very Dutch. I love combining leads, trippy elements, and eclectic beats—but ambient music is my first love and the language that comes most naturally. Most of my albums carry that signature. 🌌

You’ve released music on Blueprint, Dekmantel, and Nous’klaer, and now run your own imprint. What advice would you give to artists trying to navigate the world of independent labels?

It’s been quite a ride, but a fulfilling one. Challenges are part of the journey and shape us into better artists. The music scene today can feel hectic and overwhelming compared to when I started out (around 16 years ago!).

My main tip is: keep pitching your music, but always have a plan B. A big, well-known label might sound amazing, but that doesn’t guarantee they’ll truly care for you or your art.

My best experience was releasing my first album with CPU—Chris was transparent, supportive, and set realistic expectations. That taught me the importance of working with people who align with your vision, because you’re entrusting them with something very personal and precious.

I started my own label because I felt there was a vibe missing—something reminiscent of that open, free 90s playground, where multiple genres can come together in a bigger story.

I also want to bring in different forms of art—painting, fashion, gaming—without the pressure of strict release schedules. My honest advice in today’s landscape: consider self-releasing if you can. Believe wholeheartedly in your art, and surround yourself with a team that believes in it just as much. That synergy counts for so much more than a fancy label name.

You work with leading music technology brands and offer coaching for producers. What’s the biggest mistake you see emerging artists make when trying to develop their sound?

It’s been such a humbling experience. I love sharing knowledge and seeing the amazement on new artists’ faces when they pick up something fresh.

Tech evolves so quickly, and I’m grateful to have a front-row seat so I can pass on insights. I don’t really like calling anything a mistake, because everything is a lesson. But if I had to point something out, I’d say a lot of emerging artists want instant results—things to blow up fast—without first grounding themselves in their identity and purpose.

That can lead to feeling lost later. Nowadays, it’s easy to focus on appearances, but I believe truly great artists shine from the inside. That’s what others see and value, be it fans, labels, or brands.

What’s your favorite/least favorite thing about making music?

I genuinely love the entire process—pouring my heart into it, dealing with frustration when something won’t click, discovering new workflows. It’s all part of birthing something that feels uniquely personal.

If I had to pick something annoying, it would be when tech issues randomly pop up—like loose cables or a synth that decides to go out of tune for no reason. But then again, technology is a lot like us humans: we all glitch out once in a while! 😅

Interview by @ninakeh

OUT now! X1 SHIFT

Nadia Struiwigh | Instagram