In conversation with: Irazu

From Madrid’s underground to the international scene, Irazu has forged a sonic language rooted in introspection and raw physicality — a place where techno becomes both shelter and exposure. Starting out as an event promoter in Spain, the Spaniard producer gradually shaped a discography that has found a home on respected labels such as Stale, 30drop, Semantica, Warm Up and many more.

For him electronic music is a tool for self-exploration, a way to confront identity and emotion. His records move between tension and shadow, clarity and controlled chaos — a path that has led him to stand alongside some of the genre’s most influential figures, without ever losing his own voice.

In this honest and unfiltered conversation, Irazu reflects on the turning points of his journey: from his early encounter with electronic music to his time in Berlin, from his influences to the founding of Crudo collective. An interview that mirrors his visceral, uncompromising approach — where every word hits with the same precision as a well-placed kick. Straight to the gut.

And of course, this bad boy recorded a mix (the twelfth in our series) to go with the interview.

Have a good reading and listening!

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☉ Can you tell us about your beginnings? What was the “gateway” that pulled you into the world of electronic music?

“I was a troubled kid—the kind with a chaotic, heavy life. Violent with myself, and at times with those around me. I couldn’t accept anything. Honestly, I didn’t think much of electronic music back then.
But one day, I saw Oscar Mulero behind the decks, and my mind just exploded… I must have been seventeen.
That moment lit a fire. I suddenly knew what I wanted to do with my life. It was the beginning of a beautiful chapter—days and nights spent discovering countless records and extraordinary artists. I left almost everything behind for music. It became my way out of that dark reality.
That’s why I owe so much to music. That’s why I do this. It’s more than a passion—it’s a calling, and a debt I intend to repay.“

☉ How did your alias “Irazu” come about? What inspired you in choosing that name?

“It’s my mother’s surname—shorter than my father’s, which I also love: Herguedas. He would’ve preferred I used his, of course. But with all the names I see floating around out there… I think I made the right call.”

☉ What have been the main influences that shaped your path, both as a DJ and a producer?

“These days, it’s mostly my friends and the people around me who influence me the most—but truth be told, I’m in a phase where I don’t let too many outside ideas in. Ever since the pandemic, it’s been mostly just me… and, well, me again. But if I had to name a few artists who echo through what I do, it’d be Autechre, Regis, Oscar Mulero, Donato Dozzy… and Elvis.
Yes, that Elvis.”

☉ Tell us, in a spontaneous way, what a typical studio production session looks like for you.

“I always know when I walk into the studio—when I’ll leave? That’s anyone’s guess. The sessions are intense, wildly productive, pure rock and roll… and that’s all I’m legally allowed to say.“

☉ What led you to move to Berlin? Tell us what the scene was like at that time, about your frequent appearances at Tresor, and what is the most vivid memory you keep from those years?

“The first time I went to Berlin I was pretty young—I went to see Svreca play his first set at Berghain.
After that, the visits became so frequent that one day I just decided to stay. And so I did. I genuinely loved the city, and I had a few friends there too.
I never moved for the sake of my career, and definitely not to compete. Berlin’s full of that—pure competition everywhere. That mindset goes against everything I believe in when it comes to music. Fuck that. I hate that attitude. As for Tresor—those opening sets made me genuinely happy. They were wild. It’s still my favorite club in Berlin.“

☉ Let’s talk about Crudo: how did the project come to life, how is it going, and how do you interpret everything that has happened so far?

“Crudo is basically three guys with way too much ambition and nowhere near enough resources, throwing ourselves into this with everything we’ve got—for whatever reason.
There’s Neurite, fresh out of jail not too long ago.
Then Tkns, who gave up the Marxist fight for techno—which, honestly, I’m not sure was an upgrade.
And then there’s me… just doing what I can.
We’re good at what we do. No doubt about that. We throw good parties!”

☉ Among the DJ sets you’ve played during the various editions of Crudo, is there one you remember particularly fondly? And what’s one of the best sets you’ve experienced as a listener?

“I think my partners and I would all agree—the best thing we ever brought in was Sleeparchive. Absolutely spectacular. Honorable mentions go to Anthony Linell and Regis—legends, no doubt.
As for my own sets, the last opening I did? Pretty damn good, if I may say so.
And honestly, hearing my partners play is always a pleasure.”

☉ Warm-up or closing set? Which do you prefer and why?

“Opening sets are the ultimate ego check—a true test of whether you actually know how to mix and select properly. It’s all about holding tension, knowing when to stretch it, and when to let it explode—just right, never too soon. Put simply: an idiot could never pull off an opening set. End of story.“

☉ You recently played the opening set before Sandwell District at Lanna Club. What did that moment represent for you? Would you like to share something about that night?

“It was an incredible night, one that filled me with joy—not just because I got to play music, as I always love to do, but even more because I shared it with my friends Regis and Function.
Playing at Lanna, which feels like home to me, made it all the more special.
The best moment? Every single one. Truly, one of the best nights of my life.”

☉ If you had to choose one record to frame and hang on a wall, which one would it be?

“Surgeon’s Force + Form [Tresor]. My favorite ever.“