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Boys Noize Unveils New Album, "+/-" (Pronounced ‘Polarity’) | DJ Times

Boys Noize Unveils New Album, "+/-" (Pronounced ‘Polarity’) | DJ Times

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Boys Noize Unveils Highly-Anticipated New Album, “+/-” (Pronounced ‘Polarity’)

By Brian Bonavoglia

September 24, 2021

Photo By Shane McCauley

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Still buzzing after dropping singles “Affection” and “Detune” just yesterday, Boys Noize‘s highly anticipated fifth studio album +/- (pronounced Polarity) has arrived for all the world to enjoy.

Never one to shy away from cross-genre exploration, his 15-track offering is a true musical journey driven by star-driven collaborations in addition to showcasing the sounds of subterranean techno, industrial, and jacking house.

“The album dives into the polar tension between the musical styles and worlds I find myself in,” says Boys Noize. “When you combine opposites, something transcendent can take place, something greater than the two parts. And with music, it becomes a magic that can create new worlds. “I’ve always been inspired by trying to integrate opposing, polar forces. There’s something really thrilling in it, and it’s always a secret motivation for me; building and exploring the combination of contrasts. Techno’s earliest inspiration was the idea of combining man and machine. And you can continue from there—aggression and beauty, past and future…”

Stream Boys Noize’ new album +/- in its entirety below and enjoy!

The first leg of Boys Noize’s +/- tour starts the day after the album release at San Diego’s CRSSD Festival, check out the complete list of dates below.

To check out more music, click here.

DJ Times Magazine is copyright © 2021 by DJ Publishing, Inc. www.djtimes.com

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09/24/2021

20 Questions With Boys Noize: On His Red Light District Origins & Selling His Vinyl Collection To Afrojack

Upon the release of his latest album, Alex Ridha discusses his wild origin story, working with Gaga, selling his vinyl collection to Afrojack and much more.

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Boys Noize

Shane McCauley*

Boys Noize is a dance world legend. A DJ’s DJ and a producer’s producer, the German mainstay can rock a warehouse for hours or co-write a chart-topping hit for Lady Gaga — you’ve heard of “Rain on Me,” right?

Born Alexander Ridha, the producer has worked with everyone from Snoop Dogg to Depeche Mode, started supergroups with Mr. Oizo and Skrillex, and earned a Grammy nomination for the latter with the Ty Dolla $ign assisted-track “Midnight Hour.” He’s somehow both an underground icon and a mainstream force, an unusual and enviable position.

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On the release day of his latest album +/- (pronounced “Polarity”), Ridha here discusses his wild origin story, working with Gaga, selling his vinyl collection to Afrojack and much more.

Where are you in the world right now?

Trending on Billboard

In the countryside of Portugal. I kind of started living here, built a little studio in the garage.

Where did you grow up and how did that place shape you?

I grew up in Hamburg, Germany. Hamburg has the biggest red light district in Europe. It’s a whole part of the city called St. Pauli. They have a bad football club, but they’re famous for their skull logo. That whole skull thing made me fall in love with the image — and obviously, I’ve explored that quite a lot on the visual side.

I was exposed to the red light district quite early. I found myself DJing in one of the main house clubs when I was 16. I worked in a house and techno record store. I was 15 or 16 and suddenly getting offers to DJ. When I was 17, I was a resident DJ at this gay house nightclub called La Cage. Every Sunday night, I would play from 2:00 ’til 5:00 in the morning, go home, take a shower, go to school on Monday morning.

It shaped me a lot as a DJ. I did all my first years in St. Pauli. By the time I moved away from Hamburg when I was 21 or 20, I knew everybody, every bar, every club, every bouncer. I was the youngest DJ. in town, so everybody knew me. That’s where my heart is forever, in Hamburg. I had a lot of great experiences there, and then I moved to Berlin.

Also, as a teenager, I took the bus to the Love Parade in Berlin. I was 13, and one of my best friends moved from Hamburg to Berlin. I visited him. Love Parade ’96, ’97, ’98, ’99; they changed my life, too. I was literally one of two million ravers in the street.

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What was the first album or piece of music you bought for yourself and what was the medium?

I was attracted by vinyl quite early. My older brother had a big collection and was into all of these early house and rap records. End of ‘the 80s, he was listening to Run DMC and Public Enemy and house music; stuff from Trax Records and Steve “Silk” Hurley, Marshall Jefferson. I was listening to that music without knowing, and when I was 13 or 14, I started to buy vinyl. I started to buy a lot more hip-hop, like Wu-Tang. I spent $1,000 each month easily on vinyl. I had to have two jobs to finance those, because my parents didn’t give me their money for it.

What were your two jobs?

In Europe, we live in these multifamily houses with five levels. I would clean stairs and apartments before people move in. Everything has to be perfectly clean. It’s a terrible job, but I made a lot of money. I was 14 or 15 by that time. Then, I was working at a record store. I would basically turn up there every day and listen to all the crates of house music I knew from my brother that I was trying to rebuy. At one point [the owner] was like, “You come here every day, why don’t you work here?”

I was making $20 an hour on the cleaning thing, and I would make $5 an hour in the record store. My boss was then like, “I’ll buy you your first turntables, Techniques, but you’re going to work for them, so all your money goes into that.” It was like a loan. It was perfect — but check this out. I was so annoyed with my cleaning job and at some point, I quit and just stayed in the record store — but then I also started to DJ, get $50 here, $50 there. That was cool for me, and when I quit the record store, I still didn’t pay off my vinyl. I basically worked four years for those turntables, and still had to pay him more, because those were quite expensive.

Do you have a vinyl you’re really proud of?

I have this one Roule record — the label from Thomas Bangalter from Daft Punk — and he signed it for me. He invited me once to the studio. I brought this record and he signed it. That’s a big one.

There’s also this one project no one really knows about that Jeff Mills was involved [with]. It’s called Final Cut. It was late ’80s. He was only involved in the first two records. There was an album, and then they split, and Final Cut became something more inspired by Ministry and Skinny Puppy. The first two records are crazy, because Jeff was trying to make it more dance. Those early records are worth quite a lot. I have that Final Cut album, which is amazing.

Do you get to listen to your records?

Recently when I was back at my place in Berlin, I wanted to get through all of them, because I haven’t done that in — I don’t even remember — and I was trying to get rid of some. I just have so many from those days from the record store. I was going through through them, and I did randomly hit Instagram Live so people could tune in to see. People reached out to me like, “I want to buy all these [records] from you.”

In fact, the first 1,000 I took out, I’m selling them to Afrojack. He was like, “Man, what are you doing with all this?” I sent him one picture. He’s like, “I want those.” I was like, “You can’t go through all of them. If you want to get them, get the first thousand.”

What’s the last song you listened to?

I’ve listened to new demos. I’ve listened to the Kanye album, and didn’t hear any of the stuff I worked on. Someone sent me the Drake album, too.

What was the first electronic music show that blew your mind?

Watching 2manydjs for the first time. It was 2000. I was 17 and a house DJ. Techno was kind of dead. 2manydjs were blowing my mind. They were the first DJs doing mash-ups live. They really set the revolution. No one’s talking about genre anymore, and I think they are the reason. It became normal to put an a cappella from Missy Elliott over a techno beat, play the Stooges with Vitalic, then dropping a Beyoncé record — all of this wild shit that is so normal now for a D.J. They were the first I heard doing it, and they were also doing it so well. That really changed a lot of views, and also the energy was incredible.

Richie Hawtin at that time also inspired me. He had this Decks, EFX & 909 album around that time, and he would play tribal techno stuff, then Nitzer Ebb, then a really hard, bass-y DJ Koze record, which was just noise basically. That was a different context, but powerful energy.

What is the first piece of gear you bought?

This E-mu ESI-4000 sampler. It’s a big rack and you had these zip disks. I would record samples on it, chop ’em up there and then play with the MIDI keyboard. The first synth was this Access Virus TI2. I think I was one of the first using the laptop to produce. In 2004, when I made my first Boys Noize records, that was the first time you could take your laptop and have the software like Logic on your computer. The laptop became gear by that time, too. I just had one outside synth, one drum machine and the laptop. Most of my early music was sample-based too.

Do you have a favorite piece of gear?

One of my favorites is still the mighty Roland 303 that made acid house. That one is just super timeless. Any time you make something with it, it’s dope, because immediately you have an acid record. You did nothing and you already have something.

If someone is looking at a piece of gear and it’s intimidating, what advice do you have?

I’ve had those moments for sure. I looked at these modular systems in a shop in Berlin for quite a few years and I just thought, “This is too much.” Over the years, I looked at it more and I knew I was going to love it, but I can only touch it If I dedicate proper time and learn it, study it. At some point in 2016, I was like, “Now it’s the time.”

It’s good to take something when your head is ready for it. Don’t force it. It’s got to attract you visually, too. There’s so many different desktop machines and groove boxes, drum machines and synths. If you’re already freaking out by the look of it, then don’t even bother. You want to work with something you like visually as well. There has to be some connection outside of you thinking it’s going to make the dopest sounds.

Is the disco skull from the cover of  your 2007 album Oi Oi Oi a real object?

Yes, I have it! It’s massive. It’s like half of my body. The artist is Christoph Steinmeyer, a German artist. I’ve seen that one in a gallery in Berlin around 2005. It was tiny like my head, a real-size skull. Going all the way back to St. Pauli, I just love skulls. We got in touch, and I asked if I can use that photo for my album cover. The album was so extreme, like death techno and death punk. It was the perfect image for it. That’s how it started, then I was thinking if I made that one bigger, I could bring it on to my tour.

So I asked him, and he’s like, “Yeah, it’s going to be expensive, because these are all small mirrors.” But we did it, and it’s been sitting in my home. I took it with me on tour one time. I took it to I Love Techno, the festival in Montpellier, France. I put it up on on this big stage, but it looked so tiny. It was hanging above my decks and it just looked minuscule from the stage. Now it’s just a piece of art.

These nearly 20 years, you’ve proven to be chameleonic with your sound. How do you keep your mind, ears and process fresh?

I’m constantly looking for new ways to create sounds and even compose. A few years back, it would just be buying a new drum machine or buying a few new plugins. Now it’s gone way more extreme, into even how I sequence stuff and building my own instrument with the modular system. Sometimes, I wish I had more an idea about what I want to do in the studio — but I’ll just make something, and go from there. I just put something on and make it, and I try to make it in a way I haven’t before. I never try to use the same sounds again. I have no template. I always start from scratch and decide what does best for whatever I’m working on.

You’ve collaborated with, like, everyone alive, from Skrillex to Lady Gaga to Chilly Gonzales and more. What do you think makes a good collaboration?

There’s a difference between being in the producer role and or being the musician, because sometimes I’m just the producer. When I sit in that seat, I try to do the best for the artist and that sound. I put my touch on it, but I’m trying to get where the other the musician or artist wants to go.

When it comes to my record, and I work with an artist I admire, that’s usually a very exciting process. That person can definitely show me things I can learn. You go in this area — I’ve had this multiple times with Skrillex — where you get in a discussion. You fight over little things, you have to talk about it. What’s the middle ground? I love that. That’s when something new happens, when you jump out of your comfort zone and open yourself up to new things.

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What’s your guiding vision with your label, Boys Noize Records?

Finding fresh bangers for the club. It’s very club-driven, although we have more experimental stuff. It’s basically all artists and music that I love to play and listen to. If you impress me in the production and I’m able to sign you before someone else, I’d love to sign you. If you make bangers that I can play it and it goes off and they’re still in the good production world—it doesn’t even need to be good production. It can’t be the worst production, but if the energy, the feeling and the message is right, some of these naive productions are the best.

Let’s talk +/-. I love a symbol name.

It came to me during the album process. The whole interaction we just talked about, basically, it comes all together where you have these two extremes, but what happens if we meet in the middle? There’s this magical and yet undefined space. That’s always interesting, and it’s always been a narrative in my music. The “Girl Crush” record, I’m doing this 90 bpm, slow, industrial techno track, and I’m thinking, “it would be so cool if Rico Nasty would sing over this.” Total wild musical ideas. This is what excites me. When I heard her first tracks, I was just blown away. Luckily, I knew the producer, so we got in touch.

This idea of this music has been in my mind for so long, and you just never come across artists that are open enough to do that. Same with with Kelsey Lu on “Love and Validation.” It’s been a long life process to find those people. Those don’t come from “the manager called someone.” All of the collaborations on the album came together from being friends, being fans of each other, and hanging out and having a good time, and you make music because of that.

Were there cool coaching moments working with some of these other artists?

One thing that I’ve learned is that capturing the moments is way more important than being perfectly prepared for it. With the song with Vinson, the ballad at the end of the album, it’s the furthest away from what I usually do and even more from what I play in the club. It was the first time he sang and recorded his voice. He didn’t even know he was going to be a singer and that was the first thing he ever wrote and ever recorded. That to me is so special, and we made everything in that moment from scratch. I was able to capture his first idea, and that became the song.

What about the artwork you created with Eric Timothy Carlson?

It’s so hard to express music in a visual form, to have the same ideas and mood. For the first time, the art is really 100 percent reflecting the music. I was a big fan of Eric as an artist. I checked out his gallery in New York. We went down the theme of plus and minus, polarity. We explored it for a couple months, pulled down every possible image and reference, going quite deep. It set the whole inspiration for the artwork, and it became his interpretation of that. You see quite a lot of references, but that’s how my music is. It’s more about how do you combine them and make things new.

You’ve been immersed in the universe of +/-. How do you feel about it finally being shared?

It’s probably one of the albums I put the most effort in — from the art, the music, everything. I know that it’s not going to have that effect. It’s hard to accept, but at the same time, I really do this for myself and I’m really proud of it. It’s definitely a big release for sure. I’ve been sitting on a lot of these ideas for a long time to see how time treats them. They’ve been treated well, so I’m very confident. I’s really hard to say what people that know my music are going to think. I’m showing so much new and different things. My sets are techno and house. I don’t think people expect this type of record for me, but it’s fresh to me, and I had to do it. I had to get it out.

Are you planning shows?

Musically, I do have ideas of how to build the night. I’m going on a club tour and I seriously can’t wait to play out again. Just give me decks, I’ll play anywhere.

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Boys Noize: "I’m attracted to making extreme decisions and f*cking with people" | MusicRadar

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Boys Noize: "I’m attracted to making extreme decisions and f*cking with people"

By Danny Turner, Future Music( Computer Music, emusician ) published 25 October 2021

Alex Ridha’s fifth Boys Noize album aggressively explores the schism between soaring melodies and hard, atonal beats. Danny Turner reveals his modular approach

(Image credit: Shane McCauley)

Almost 15 years after the release of Oi Oi Oi, the popularity of Alex Ridha’s Boys Noize alias shows no sign of receding. Anointed one of the world’s top DJs, his aggressive techno-punk sound is both uncompromising and distinctive, leading to remixes for the likes of Depeche Mode, Daft Punk and Nine Inch Nails and surprisingly leftfield alliances with Snoop Dogg, Mark Ronson and Lady Gaga.Inspired by sound itself and approaching each album with a clean slate, Ridha’s fascination with technology has recently branched into the modular realm, specifically Eurorack. The familiar sound of motoric, battering beats and deeply immersive textures underpins his latest Boys Noize album Polarity, exploring the sonic tensions between industrial rock and electronic pop through a whole host of collaborations.How does the album symbolism and title Polarity relate to your fifth Boys Noize album?“The visual aspect of music has been very important to me and on Polarity I’ve had the pleasure of working with graphic designer Eric Timothy Carlson because I was a huge fan of his work with Bon Iver. We went into every aspect of polarity and how it relates to my personality, collecting ideas and illustrating them before applying them to the design. "By polarity I not only mean our society and personal relationships, but whether musical extremes can work together. For example, what can I do to make a very hard, disturbing and industrial distorted sequence funky or how can I break it up with a sound or vocal and balance those things out? Usually, what I find is a magical point where those two sides meet.”(Image credit: Press/Boys Noize)There are many examples of that on the album. For example, harsh rhythmic sounds grinding against female pop vocals…“That’s been a musical fantasy of mine for many years but it took a long time to get to a point where I would meet an artist I adored enough to bring into my world. For me, it never seems to work when you send or receive stuff remotely."To create a song like Love & Validation with Kelsey Lu was great. I’d been to her concerts, we became friends and when we created the song together in the studio we both had goosebumps. Everything starts with a sound, but if you can manage to get that emotion on the record then people will resonate with that.” Were you reticent to explore pop elements?“The music I’ve released in the past has mostly been instrumental because I don’t like pop music structures or like to know what happens next in a song. The song Ride or Die, which is another one I did with Kelsey, doesn’t have that structured pop song feeling. It has a vocal, but the vocal is just as important as the kick drum. That’s what I love about using vocals, trying to create a different way of listening to a song.”When you’re writing a track, will you typically leave space for a vocal to be added? “Most of the vocal tracks on Polarity were written from scratch and none of my music has a template or sticks to a certain way of composing. That’s why I love using modular gear, as I can create my own way of composing and sequencing. I’m always trying to make things difficult for myself – as soon as I feel comfortable, I start switching things up because that leads me to new ways of exploring sounds.That’s why I love using modular gear, as I can create my own way of composing and sequencing"On Polarity, everything started with the instrumental Greenpoint. When I created the main sequence, I’d never heard a sound like that before and that made me very excited. It gave me a vision for the album, its style and where everything would go.”People always mention house, techno and acid as Boys Noize influences, but what about industrial music?“My DJ sets over the past few years have definitely been infused by that sound and a niche scene with new types of EBM and takes on new beat has been growing. I have a collection of some of the more electronic-sounding Ministry records, Nitzer Ebb, Front 242 and all the Belgian stuff, but I didn’t plan to move towards that. The sound of Polarity has been driven by modular system patches and everything I make just sounds more industrial.” (Image credit: Boys Noize)Boys Noize has always blended genres. Is the objective to create something new from something familiar?“After I made the opening sequence on Greenpoint I realised the music was sounding more industrial but then I had this raw idea of George Michael meets Nine Inch Nails [laughs]. Even on the track Polarity with Ghost Culture you have these really disturbing sounds at the beginning but then it gets funky and becomes quite a gorgeous song. "As a DJ, I buy and play new music every week and all these records are amazing, so I’m always asking myself what I can do that’s different from the records I play. I love to push myself by meshing these different sounds and styles. In that respect, every sound on Polarity has to have a reason behind it.”Where does that drive to create come from?“I‘ve always been like that. When I worked in a record store, I used to get the promos and white labels and DJ them out, but once they were released I didn’t play them anymore because every other DJ was able to. I’m more motivated by impressing other producers than anyone else"When a tribe moves one way, I immediately look the other. When I moved to Berlin in 2003, the whole minimal techno thing blew up and my debut album Oi Oi Oi came out, which was the complete opposite. "I’ve probably been my worst enemy in that sense, but I’m attracted to making extreme decisions and fucking with people. After Oi Oi Oi I made a disco remix that became a banger and people started asking me to make more remixes like that, but I couldn’t – I just started from scratch and did whatever I felt like doing at that moment.”Boys Noize hit the ground running. Do you think you might have had to conform had things not panned out that way?“At the beginning I had so much hate and dissing from the German press. After I released my second album that dropped off a little, but I had to develop a thick skin. The key thing is that you have to make music for yourself and not be distracted by anything people say, and I’m more motivated by impressing other producers than anyone else. "That’s something I tell the artists signed to my label and it is hard because it opens up a bigger discussion about how to make money in a business where the whole culture is built around numbers. "It helps to remember that there’s a whole musical cosmos co-existing outside of what the industry wants and that’s deeply rooted in everything I’ve done. If you get obsessed by thinking about what other people want, you’ll get crushed.”(Image credit: Press/Boys Noize)You started your own Twitch channel throughout the pandemic and asked for input from your followers. What’s been the result?“At the beginning of lockdown I discovered Twitch. I had zero followers and streamed live from my little bunker with a modular system and two or three drum machines to let people see how I made patches and how a weird sound became melodic or a weird bass became funky. "I live recorded and arranged while people were watching and created themes like Modular Mondays or Techno Tuesdays. After two weeks I had 15 new tracks that were created live and really enjoyed that because I knew that, whether 50 or 500 people were watching, everybody was there for the right reasons.” And you released those sessions as an album?“Overnight I self-mastered and put out Strictly Bvnker on Bandcamp and the whole experience gave me energy and endorsed my love of the techno and house music culture. "Sadly, my computer got burnt by the OBS software and I spent about nine months trying to figure out why every time I opened Twitch it was running like a snail. But I can’t wait to do it again because it was a very different approach to making music, especially compared to Polarity.”What were you looking for from the Eurorack format that you felt was missing from the equipment you already had? “It’s gone well as I didn’t end up just doing bleeps and blobs all day but approached modular quite practically. The cutting-edge stuff is all happening in Eurorack"I already have a large collection of drum machines and synths and if you look at my favourites like the Pro One, ARP 2600 or Roland SH-101, each was designed with a very specific idea about how they should sound. The beautiful thing about modular was actually the digital stuff. "I had no desire to get a pure oscillator because my legacy synths already sounded better, but when I heard the digital ones from Mutable Instruments like Elements and Clouds and got into composing and sequencing, I was amazed I could make sounds I wasn’t able to create before. There are also great plugins in Logic like Sculpture, but I’m trying to avoid looking at a screen as much as possible.”On first glance it looks like you have a Doepfer A-100 Modular System, but on closer inspection it appears to be retrofitted with lots of different modules?“I only have one Doepfer module, which is a clock divider, but respect to Doepfer for bringing in the Eurorack format. When I used to go to Schneidersladen in Berlin they had a massive Doepfer system but I was always a bit intimidated by it, so yes, it’s just a case. "Overall, the cutting-edge stuff is all happening in Eurorack and I can take a system around and create whatever I want with it. A lot of what I do is about processing. I love the new take on Mutable’s Clouds called Beat-Repeat and the Noise Engineering stuff like the Basimilus Iteritas drum synth. "I also love Rossum’s Panharmonium, which allows you to do crazy, mind-bending processing and Rabid Elephant’s envelope VCA-type thing called Natural Gate, which has a very fat sound to it.”(Image credit: Press/Boys Noize)And now you’ve built your own module?“It’s in collaboration with Steady State Fate, who I was already big fan of. We met in Berlin at Superbooth a few years ago and I told him all these ideas I had for a module because I love using effects chains and wanted to be able to filter the parts that I like. "To do that in a modular system is possible but requires quite a big patch so I wanted to create a module that would do all of that and be analogue. We built this module called Triptych and it’s in every single patch that I make.”What does Triptych comprise of? “It’s based on a unique chain of three devices. You have the input, which goes into a multimode filter and then you have two multimode distortions. Then the chain goes further down the unit into delay and flanger effects that sound similar to devices I like such as the MXR flanger and the early Japanese Maxon flanger. With modular I can really concentrate on bringing sounds together in a way that sounds sick on a sound system"You can create modulation, chorus and flanger effects, delay sounds, invert the feedback and sweeping and make actual acid sounds on it that are a bit like a 303. At first I thought the device would just be for processing, but I made a whole demo with it. I made the kick drum without any input and the beautiful thing is that you can route everything the way you want to.”(Image credit: Press/Boys Noize)Have you taken a completely different approach to creating tracks because of modular?“Absolutely, and that’s because of the great amount of possibilities you get with sequencing. I love to create rhythms using Elektron drum machines or my 808, but in Eurorack you have so many different ways to create patterns, rhythms, sequences and melodies that are way more interesting to me. "What I also like is that a lot of the decisions that you would normally make in Logic or Ableton are already being made with the modular. I still EQ things here and there or edit to make room for another sound, but with modular I can really concentrate on bringing sounds together in a way that sounds sick on a sound system. "I love putting everything together digitally in Logic too, because I’ve been doing that since I was 15.” Last year, you contributed to the Lady Gaga track Rain On Me. How did that come about?“I’ve been friends with a guy in LA for a number of years, played a few of the Polarity demos to him and he said he’d send it to Lady Gaga. It’s all about the newest machine or module because they bring me the same inspirationShe got back immediately, asked me to come to her studio and the next day I was sitting next to her on the couch [laughs]. Funnily enough she already knew my music and stuff like Surgeon because he’d opened some of her shows, so I was quite impressed with her techno knowledge. "Anyway, I brought my modular case with me and we wrote Free Woman, which went great, and the next day Rain On Me from scratch. Then I went back to Berlin and her main producer asked more people to join the production to help finish the tracks, so those songs evolved a lot. "Lady Gaga is a crazy talented musician and I was really impressed by how quickly she could write a song. Those are the energies I feed off because when I’m in the studio I like to open up and give all my best ideas. You don’t see that often from people but those are the moments you create music that means something.”Would you be interested in doing more production work? You’d be a very good fit for a band like Depeche Mode…“Are you kidding me? Of course, man. The first remix I did for them was Personal Jesus, which meant so much to me because they’ve been a huge part of my life. So yes, Depeche Mode, if you’re reading this I’m definitely down for that. "The ’80s was my favourite decade as you had all these electronic instruments coming up for the first time and it was interesting how technology sneaked into pop culture. "Back then they were fighting over the new machines – I read about Stevie Wonder grabbing Herbie Hancock’s Fairlight and never returning it which is funny. That’s how I feel today; it’s all about the newest machine or module because they bring me the same inspiration.” Boys Noize’s forthcoming album +/- (Polarity) is out now on BNR. (Image credit: Press/Boys Noize)

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‎Boys Noize - Apple Music

‎Boys Noize - Apple Music

Home Browse Radio Search Open in Music Boys Noize Latest Release FEB 28, 2024 Arintintin - Single 1 Song Top Songs Midnight Hour Midnight Hour - Single · 2019 Unlock It (feat. Playboi Carti) Unlock It (feat. Playboi Carti) - Single · 2021 Fine Day Anthem Fine Day Anthem - Single · 2023 Rock the Bells Mayday · 2016 FMU (feat. Boys Noize & Rico Nasty) Sexorcism · 2019 tell me tell me - Single · 2024 End of Line (Remixed by Boys Noize) TRON: Legacy Reconfigured · 2011 Midnight Hour (Four Tet Remix) Midnight Hour (Four Tet Remix) - Single · 2019 Mvinline Mvinline - Single · 2020 Girl Crush Girl Crush - Single · 2020 Albums +/- 2021 Strictly Raw, Vol. 2 2018 Mayday Remixes, Pt. 2 2017 Mayday Remixes, Pt. 1 2017 Mayday 2016 Boys Noize Presents Strictly Raw, Vol. 1 2015 Out of the Black - The Remixes 2014 Music Videos Love & Validation 2021 All I Want (feat. Jake Shears) 2021 Ride Or Die (feat. Chilly Gonzales) 2021 Mvinline 2020 Birthday (feat. Hudson Mohawke & Spank Rock) 2016 Starchild (feat. POLIÇA) 2016 Artist Playlists Boys Noize Essentials Berlin's techno ambassador to the world of EDM. Singles & EPs Arintintin - Single 2024 tell me (K edit) - Single 2024 tell me - Single 2024 Higherpvsh - Single 2023 Steady Pace (Extended Mix Sped Up) - Single 2023 Take Down the House (Boys Noize Remix) - Single 2023 Steady Pace - Single 2023 Compilations Boiler Room: Boys Noize in Los Angeles, Sep 25, 2021 (DJ Mix) 2021 Secret Sky 2021 (DJ Mix) 2021 Tomorrowland 31.12.2020: Boys Noize (DJ Mix) 2021 Boys Noize at Defected Virtual Festival, 2020 (DJ Mix) 2020 Boiler Room: Boys Noize in Liège, Mar 28, 2018 (DJ Mix) 2018 BNR10YR Bang Mix (Mixed by Boys Noize) 2015 FABRICLIVE 72: Boys Noize (DJ Mix) 2013 Appears On I Think (Feat. Boys Noize & Matt OX) - Single Diablo FMU (feat. Boys Noize & Rico Nasty) - Single Brooke Candy More To Hear Danny Howard, Boys Noize, Loods, and Mall Grab Danny Howard, Boys Noize, Loods, and Mall Grab House Work Mixes. Netsky High-octane sounds and mash-ups from the Belgian producer. Guest Selecta: Baauer The Guest Selecta shares inspirations and talks latest music. Guest Selecta: Boys Noize Kayoh remix of "Godzilla," new music from Ducky and DJ Zinc. HYPERHOUSE: Live from Miami Guest sets from Sleepy Tom, Ducky, more. Boys Noize German techno and a Mayday album teaser. Guest Selecta: Boys Noize Eclectic, spacey mix by Alexander Ridha. About Boys Noize Few DJs have navigated the gulf between the German techno scene of the 2000s and the global main-stage EDM of the 2010s (and onward) quite like Boys Noize. Born Alex Ridha in 1982, the Hamburg native moved to Berlin at 21 and began putting out hard-hitting electro-house anthems on labels like DJ Hell’s International DeeJay Gigolo Records and Tiga’s Turbo. He founded his own Boysnoize Records in 2005, establishing a uniquely German take on the decade’s blog-house sound by uniting hip-hop swagger and rave hedonism with techno’s underground intensity. He remixed acts like Depeche Mode and Justice and began headlining increasingly huge festival stages, and then came 2012’s Dog Blood, a collaboration with Skrillex that found both artists breaking down the walls between genres. Boys Noize continued to test the division between club savvy and pop smarts on 2021’s +/-, tapping guests like Rico Nasty and Scissor Sisters’ Jake Shears on an album encompassing freestyle, EBM, and other timeless dance-music styles. HOMETOWN Hamburg, West Germany BORN August 22, 1982 GENRE Electronic Similar Artists Justice SebastiAn Mr. Oizo Soulwax Digitalism MSTRKRFT Djedjotronic Simian Mobile Disco Surkin Dog Blood United States Español (México) العربية Русский 简体中文 Français (France) 한국어 Português (Brazil) Tiếng Việt 繁體中文 (台灣) Select a country or region Africa, Middle East, and India See All Algeria Angola Armenia Azerbaijan Bahrain Benin Botswana Cameroun Cape Verde Chad Côte d’Ivoire Congo, The Democratic Republic Of The Egypt Eswatini Gabon Gambia Ghana Guinea-Bissau India Iraq Israel Jordan Kenya Kuwait Lebanon Liberia Libya Madagascar Malawi Mali Mauritania Mauritius Morocco Mozambique Namibia Niger (English) Nigeria Oman Qatar Congo, Republic of Rwanda Saudi Arabia Senegal Seychelles Sierra Leone South Africa Sri Lanka Tajikistan Tanzania, United Republic Of Tunisia Turkmenistan United Arab Emirates Uganda Yemen Zambia Zimbabwe Asia Pacific See All Australia Bhutan Cambodia 中国大陆 Fiji 香港 Indonesia (English) 日本 Kazakhstan 대한민국 Kyrgyzstan Lao People's Democratic Republic 澳門 Malaysia (English) Maldives Micronesia, Federated States of Mongolia Myanmar Nepal New Zealand Papua New Guinea Philippines Singapore Solomon Islands 台灣 Thailand Tonga Turkmenistan Uzbekistan Vanuatu Vietnam Europe See All Armenia Österreich Belarus Belgium Bosnia and Herzegovina Bulgaria Croatia Cyprus Czechia Denmark Estonia Finland France (Français) Georgia Deutschland Greece Hungary Iceland Ireland Italia Kosovo Latvia Lithuania Luxembourg (English) Malta Moldova, Republic Of Montenegro Nederland North Macedonia Norway Poland Portugal (Português) Romania Россия Serbia Slovakia Slovenia España Sverige Schweiz Türkiye (English) Ukraine United Kingdom Latin America and the Caribbean See All Anguilla Antigua and Barbuda Argentina (Español) Bahamas Barbados Belize Bermuda Bolivia (Español) Brasil Virgin Islands, British Cayman Islands Chile (Español) Colombia (Español) Costa Rica (Español) Dominica República Dominicana Ecuador (Español) El Salvador (Español) Grenada Guatemala (Español) Guyana Honduras (Español) Jamaica México Montserrat Nicaragua (Español) Panamá Paraguay (Español) Perú St. Kitts and Nevis Saint Lucia St. Vincent and The Grenadines Suriname Trinidad and Tobago Turks and Caicos Uruguay (English) Venezuela (Español) The United States and Canada See All Canada (English) Canada (Français) United States Estados Unidos (Español México) الولايات المتحدة США 美国 (简体中文) États-Unis (Français France) 미국 Estados Unidos (Português Brasil) Hoa Kỳ 美國 (繁體中文台灣) Copyright © 2024 Apple Inc. All rights reserved. Internet Service Terms Apple Music & Privacy Cookie Warning Support Feedback Select a country or region Africa, Middle East, and India See All Algeria Angola Armenia Azerbaijan Bahrain Benin Botswana Cameroun Cape Verde Chad Côte d’Ivoire Congo, The Democratic Republic Of The Egypt Eswatini Gabon Gambia Ghana Guinea-Bissau India Iraq Israel Jordan Kenya Kuwait Lebanon Liberia Libya Madagascar Malawi Mali Mauritania Mauritius Morocco Mozambique Namibia Niger (English) Nigeria Oman Qatar Congo, Republic of Rwanda Saudi Arabia Senegal Seychelles Sierra Leone South Africa Sri Lanka Tajikistan Tanzania, United Republic Of Tunisia Turkmenistan United Arab Emirates Uganda Yemen Zambia Zimbabwe Asia Pacific See All Australia Bhutan Cambodia 中国大陆 Fiji 香港 Indonesia (English) 日本 Kazakhstan 대한민국 Kyrgyzstan Lao People's Democratic Republic 澳門 Malaysia (English) Maldives Micronesia, Federated States of Mongolia Myanmar Nepal New Zealand Papua New Guinea Philippines Singapore Solomon Islands 台灣 Thailand Tonga Turkmenistan Uzbekistan Vanuatu Vietnam Europe See All Armenia Österreich Belarus Belgium Bosnia and Herzegovina Bulgaria Croatia Cyprus Czechia Denmark Estonia Finland France (Français) Georgia Deutschland Greece Hungary Iceland Ireland Italia Kosovo Latvia Lithuania Luxembourg (English) Malta Moldova, Republic Of Montenegro Nederland North Macedonia Norway Poland Portugal (Português) Romania Россия Serbia Slovakia Slovenia España Sverige Schweiz Türkiye (English) Ukraine United Kingdom Latin America and the Caribbean See All Anguilla Antigua and Barbuda Argentina (Español) Bahamas Barbados Belize Bermuda Bolivia (Español) Brasil Virgin Islands, British Cayman Islands Chile (Español) Colombia (Español) Costa Rica (Español) Dominica República Dominicana Ecuador (Español) El Salvador (Español) Grenada Guatemala (Español) Guyana Honduras (Español) Jamaica México Montserrat Nicaragua (Español) Panamá Paraguay (Español) Perú St. Kitts and Nevis Saint Lucia St. Vincent and The Grenadines Suriname Trinidad and Tobago Turks and Caicos Uruguay (English) Venezuela (Español) The United States and Canada See All Canada (English) Canada (Français) United States Estados Unidos (Español México) الولايات المتحدة США 美国 (简体中文) États-Unis (Français France) 미국 Estados Unidos (Português Brasil) Hoa Kỳ 美國 (繁體中文台灣)

Boys Noize on TIDAL

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Boys Noize Play on TIDAL Open in Web App Open in Desktop App Artist Bio Share Top Tracks

Fine Day Anthem

SkrillexBoys NoizeOpus III SkrillexBoys NoizeOpus III

Fine Day Anthem

tell me

ShygirlBoys Noize ShygirlBoys Noize

tell me

Fine Day Anthem

SkrillexBoys Noize SkrillexBoys Noize

Pop Essentials

Midnight Hour

SkrillexBoys NoizeTy Dolla $ign SkrillexBoys NoizeTy Dolla $ign

Midnight Hour

The Time Machine

Jean-Michel JarreBoys Noize Jean-Michel JarreBoys Noize

Electronica 1: The Time Machine

Albums +/- Boys Noize 2021 STRICTLY BVNKER Boys Noize 2020 #3 Handbraekes 2018 Strictly Raw, Vol. 2 Boys Noize 2018 Mayday E Boys Noize 2016 BNR10YR Bang Mix (Mixed by Boys Noize) E Boys Noize 2015 Boys Noize Presents Strictly Raw, Vol.1 Boys Noize 2015 100 (Remixes) Tiga 2015 Octave Minds Octave Minds 2014 Go Hard Remixes Boys Noize 2014 Out of the Black - The Remixes Boys Noize 2014 FABRICLIVE 72: Boys Noize E Boys Noize 2013 Out of the Black E Boys Noize 2012 Avalanche (Terminal Velocity) Boys Noize 2011 Power Boys Noize 2009 I Love Techno 2008 Boys Noize 2008 Oi Oi Oi Boys Noize 2007 Oi Oi Oi Remixed Boys Noize 2007 EP & Singles Arintintin Rico Nasty 2024 tell me E Dolby Atmos Shygirl 2024 tell me (K edit) Shygirl 2024 Higherpvsh Boys Noize 2023 Take Down the House (Boys Noize Remix) Promiseland 2023 Steady Pace (Extended Mix Sped Up) E VTSS 2023 Steady Pace E VTSS 2023 Hotel Pool (DJ SWISHERMAN & Boys Noize Remix) E David Löhlein 2023 Fine Day Anthem Skrillex 2023 Chastity Pussy Riot 2023 Chastity Remixes Pussy Riot 2023 Pvssy Boys Noize 2023 Let Us Rave (feat. Naeem & Velvet Negroni) Boys Noize 2022 Wolf (Boys Noize Remix) Yeah Yeah Yeahs 2022 Trip Boys Noize 2022 Affection Remixes Boys Noize 2022 Affection (Solomun Remix) Boys Noize 2022 Love & Validation (Single Edit) Boys Noize 2021 Love & Validation Remixes Boys Noize 2021 Biate Boys Noize 2021 Contributor Mixes

Producer Mix: Boys Noize

SkrillexKungsFrank OceanA$AP RockyBoys Noize

Songwriter Mix: Boys Noize

Ariana GrandeFrank OceanA$AP RockyBoys NoizeLady Gaga Credits View all

Rain On Me

Lady GagaAriana Grande Lady GagaAriana Grande Composer, Lyricist

Fine Day Anthem

SkrillexBoys NoizeOpus III SkrillexBoys NoizeOpus III Producer, Instruments, Masterer, Mixer, Programming, Recorded By

Clap Your Hands

Kungs Kungs Producer, Additional Producer, Mixer, Studio Personnel

DHL

E Frank Ocean Frank Ocean Producer, Writer

Babushka Boi

E A$AP Rocky A$AP Rocky Producer, Composer, Lyricist Videos

Love & Validation

E Boys NoizeKelsey Lu 4 min Video

All I Want (feat. Jake Shears)

Boys NoizeJake Shears 3 min Video

Ride Or Die (feat. Chilly Gonzales)

Boys NoizeKelsey LuChilly Gonzales 4 min Video

Mvinline

Boys Noize 5 min Video

Birthday feat. Hudson Mohawke & Spank Rock (Official Video)

E Boys Noize 3 min Video

Starchild

Boys Noize 4 min Video

Overthrow

Boys Noize 3 min Video

The Time Machine (Audio Video)

Jean-Michel JarreBoys Noize 3 min Video

Got It

E Boys Noize 3 min Video

Ich R U

Boys Noize 3 min Video Try TIDAL for free. Cancel anytime. | Start Free Trial Get Started Start Free Trial Download TIDAL Pricing & Plans Transfer Music Supported Devices Get Support Discover TIDAL About Explore the App For Music For Artists Culture Magazine Originals Rising Sound Quality TIDAL Connect Account Sign Up Redeem Voucher Redeem Giftcard Manage Account Company What is TIDAL? Partners Careers Press Start Free Trial TIDAL is an artist-first, fan-centered music streaming platform that delivers over 100 million songs in HiFi sound quality to the global music community. © 2024 TIDAL Music AS Privacy Notice Terms and Conditions Cookie Settings Accessibility Statement Contact English © 2024 TIDAL Music AS

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Boys Noize

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tell me (K edit) - Single

26 January 2024

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Born

22 August 1982 (age 41)

Born In

Hamburg, Germany

Boys Noize is the stage name of Berlin-based DJ and producer Alex Ridha. Ridha (born in 1982, Hamburg) started producing and DJing at early age to find himself supporting the likes of Felix Da Housecat and DJ Hell in a matter of time. Nowadays Ridha himself is known as a one of the most valued electronic artists, awarded with the Independent Music Award in 2010 as well as 3 years in a row Best Electronic Artist on Beatport. Has a refreshing approach: not afraid to break new grounds, beaming a myriad of influences from his hip-hop and disco roots to create an innovative sound. His DJ… read more

Boys Noize is the stage name of Berlin-based DJ and producer Alex Ridha. Ridha (born in 1982, Hamburg) started producing and DJing at early age to find himself supporting the likes of Felix Da Housecat and DJ Hell in a matter of time. Nowadays Ridha himself is known as a one of the most value… read more

Boys Noize is the stage name of Berlin-based DJ and producer Alex Ridha. Ridha (born in 1982, Hamburg) started producing and DJing at early age to find himself supporting the likes of Felix Da Housecat and DJ Hell in a matter of time. Nowadays Ridha himself is known as a one of the most valued electronic artists, awarded with the Independent Music Award in 2010 a… read more

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Oi Oi Oi

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Power

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Out of the Black

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Sunday 31 December 2023

489

Monday 1 January 2024

396

Tuesday 2 January 2024

429

Wednesday 3 January 2024

457

Thursday 4 January 2024

468

Friday 5 January 2024

462

Saturday 6 January 2024

403

Sunday 7 January 2024

387

Monday 8 January 2024

458

Tuesday 9 January 2024

498

Wednesday 10 January 2024

490

Thursday 11 January 2024

491

Friday 12 January 2024

461

Saturday 13 January 2024

432

Sunday 14 January 2024

355

Monday 15 January 2024

465

Tuesday 16 January 2024

473

Wednesday 17 January 2024

460

Thursday 18 January 2024

465

Friday 19 January 2024

479

Saturday 20 January 2024

434

Sunday 21 January 2024

381

Monday 22 January 2024

474

Tuesday 23 January 2024

480

Wednesday 24 January 2024

529

Thursday 25 January 2024

473

Friday 26 January 2024

487

Saturday 27 January 2024

468

Sunday 28 January 2024

383

Monday 29 January 2024

488

Tuesday 30 January 2024

439

Wednesday 31 January 2024

495

Thursday 1 February 2024

588

Friday 2 February 2024

494

Saturday 3 February 2024

450

Sunday 4 February 2024

384

Monday 5 February 2024

436

Tuesday 6 February 2024

458

Wednesday 7 February 2024

461

Thursday 8 February 2024

476

Friday 9 February 2024

488

Saturday 10 February 2024

408

Sunday 11 February 2024

393

Monday 12 February 2024

398

Tuesday 13 February 2024

453

Wednesday 14 February 2024

455

Thursday 15 February 2024

418

Friday 16 February 2024

489

Saturday 17 February 2024

426

Sunday 18 February 2024

400

Monday 19 February 2024

408

Tuesday 20 February 2024

458

Wednesday 21 February 2024

464

Thursday 22 February 2024

445

Friday 23 February 2024

434

Saturday 24 February 2024

431

Sunday 25 February 2024

402

Monday 26 February 2024

461

Tuesday 27 February 2024

459

Wednesday 28 February 2024

475

Thursday 29 February 2024

500

Friday 1 March 2024

450

Saturday 2 March 2024

397

Sunday 3 March 2024

384

Monday 4 March 2024

474

Tuesday 5 March 2024

449

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