Since 2019, Hermeth has been unleashing a reckless, acid-soaked blend of ghetto tech, electro, and breakbeat that’s impossible to ignore.

Rooted in club culture but never tied to one scene, his sound thrives on distortion, chaos, and pure dancefloor energy. Born in Geneva, sharpened in the DIY trenches, and fueled by a love of 303s, he’s become a key name in Switzerland’s Brainwaves collective. His sets are wild, unplanned journeys; his production, raw and instinctive.

We caught up with him to talk creative process, hardware obsessions, the state of Swiss nightlife, and why ghetto tech still hits like nothing else.

Expect talk of metal, tech house, and sweaty basements. Expect honesty.

This is Hermeth.

Hey Hermeth, how are you today?

Yooo, all good here 🙂

What first drew you into electronic music and the ghetto tech scene? How did you discover these styles and start experimenting with acid and breakbeats in 2019?

As far as electronic music goes, I was lucky to be immersed in it from a young age, thanks to my mom. She used to play all the classics – Daft Punk, Mojo, Technotronic, Corona, etc. Those sounds really became part of my musical DNA.

Later, I created my first real alias and released two albums under it, which I played live. Back then, I was all about synthwave, heavily inspired by Kavinsky. It was exciting at first, but after a few years, I started to feel stuck, playing in front of older crowds who didn’t quite connect with the energy I wanted to share.

Then COVID hit, and with it came this deep frustration. I realized I really wanted to play in clubs, to create music that made people move. Around that time, techno was everywhere, but I wanted something different. That’s when I discovered ghetto tech – it was a total revelation. It felt raw, exciting, and exactly what I needed to reignite my passion

Your tracks blend intense acid lines with fast, gritty beats. How do you approach creating that fusion in the studio? Can you talk us through your production process when building those signature bass patterns, 303 sounds, or drum grooves?

Honestly, I don’t overthink it when I’m in the studio – it’s all about feeling. Some days, I’m riding on a wave of energy, and other days it’s more reflective. It really depends on my mood. I guess it’s kind of obvious, but I just produce what I’d love to hear in a club, what would make me want to move.

I have three different 303-style synthesizers, for example: the TB-03 from Roland, the TD-3 from Behringer, and the Bassline from Erica Synths. Each one brings its own flavor, and I love experimenting with their subtle differences to create unique textures in my tracks.

My influences are everywhere – hip hop, metal, breakbeat, UK Garage, etc. Even the random sounds that stick in my head after a long night out. When I start building a track, I’m drawn to certain things: the grit of a 303 bassline, the way it snarls and growls, or percussion that feels like it’s teasing your eardrums, almost daring you not to dance.

It’s not always about perfection. It’s about finding that sweet spot where the chaos makes sense to me, and I hope it makes sense to someone else, too.

What tools and equipment do you rely on most in your music-making? Do you prefer analog gear (like classic drum machines and synths) or digital software, and how do you use them to achieve the raw, high-energy vibe of your tracks?

I mostly work with hardware — it’s the heart of my creative process. 

My setup includes many synths, drum machines, and external samplers, all of which I record into Ableton. I use it mainly to capture and organize my ideas. I like to record long loops, sometimes several minutes, and then I’ll go back to tweak and shape them. That process, I think, is what gives my tracks their energy — they’re not static; they feel alive and dynamic. It’s that raw, evolving quality that I find really exciting.

People describe your approach as straightforward and no-nonsense. How would you explain your production and deejaying philosophy? Has your creative approach changed or evolved since you started releasing music around 2019?

I think people take themselves too seriously sometimes. For me, music is, above all, about enjoyment. I’ve always tried to keep things straightforward and not overthink them. That was my approach 14 years ago when I started making music, and honestly, it hasn’t really changed. Sure, I’ve adapted to an ever-evolving scene, but my mindset and philosophy have stayed the same.

When it comes to deejaying, my approach is pretty well-known — I never plan my sets. Everything I do is based on feeling in the moment. That’s not to say there’s anything wrong with preparing a set; I actually respect those who do. But for me, it’s just not how I work. I think it’s crucial to be able to read and adapt to the crowd.

That’s why my sets are so diverse. In the span of two hours, I might move from electro to ghetto tech, then to dubstep, drum and bass, or techno. The most important thing for me is that people have fun — because at the end of the day, that’s what it’s all about.

Which artists, scenes, or genres have influenced you the most? Are there specific DJs or producers, either from the classic ghetto-tech era, the local Swiss scene, or elsewhere, whose work inspires your music?

Honestly, I’m influenced by so many different genres that it’s hard to narrow it down. Of course, there are artists like Locked Club, Boys Noize, Mr. Oizo, and The Prodigy, etc, and if you listen closely, you can definitely hear their influence in my tracks.

I have a bit of a guilty pleasure, and it’s tech house. I’ve always loved it, even though I don’t play or listen to it all the time. But it’s definitely shaped my creative process in some way. Artists like Malaa, Keeld, and others —there’s a clear, indirect path that led me to ghetto tech.

As for the local Swiss scene, I’ll be honest – I’m not super plugged into what’s going on here outside of my friends. 

Speaking of the Swiss scene, as a core member of Geneva’s Brainwaves crew, how did that collective form? What impact has working closely with the Brainwaves label and your crewmates (like Estebahn, Weith, HTN, Tout Casser) had on your sound and career?

Well, it’s important to know that we’ve all been friends for years. We were actually on the same label long before Brainwaves even existed, back when I was still working on my synthwave project. So, we’ve always had this strong connection.

When the idea of starting Brainwaves came up, it really pushed me to launch my Hermeth project. Honestly, without Brainwaves, Hermeth would have never existed. The collective has been such a huge influence on my sound and my career. Working with them has given me so much creative energy and motivation. We all inspire each other, and that collaboration is a big part of what keeps me moving forward.

Geneva isn’t usually famous as a rave city. What is the electronic music scene like in Geneva and Switzerland for a producer like you? Do you feel there’s a supportive community, and how does your music fit into it?

I’m probably not going to make many friends saying this, but honestly, the scene here in Geneva has been pretty dead for a while. It’s not really the fault of the clubs; I think the impact of COVID really shook things up. Geneva used to be a vibrant city when it came to nightlife, but over the years, it’s definitely lost some of that energy.

That being said, the clubs are still trying to get back on track, bringing in original lineups and focusing on showcasing more local DJs, which is great. But the audience is pretty shy these days, and fewer people are coming out to parties. As a result, the fees are smaller, and it can feel harder to get that buzz going. I actually end up playing abroad much more than I do in Switzerland. When I do perform in Switzerland, it’s usually because my friends are behind the event.

There are still some really motivated collectives and clubs like ZOO and La Gravière that keep the energy alive. They’re doing great work, but yeah, it’s definitely a challenging scene to navigate.

Ghetto tech has its roots in places like Detroit and Chicago. How do you think it translates to Switzerland? Are there any unique Swiss or Geneva flavors in your music, or do local audiences respond differently to ghetto-tech energy?

It’s difficult to attract a crowd when the event is promoting the ‘ghetto tech’ genre. A lot of people don’t really know what it is and are hesitant to take the first step. But the thing is, ghetto tech is a mix of everything. Techno lovers often enjoy ghetto tech without even realizing it. There’s so much crossover in the energy, grooves, and vibe. But since the genre isn’t super mainstream yet, it can be a challenge to convince people to come and check it out.

What mood or story were you trying to convey with the guest mix? How do you hope listeners feel or react when they hear it, and did you include any surprising or standout tunes (maybe your own unreleased tracks or collabs) that you’re excited about?

I definitely plan to drop some unreleased tracks, along with a few gems I’ve recently dug up. The mood or story I’m trying to convey is all about energy, surprise, and having fun. I want people to feel excited, maybe even caught off guard by some of the transitions and unexpected tracks. It’s all about keeping the vibe fresh and dynamic, just like I would in a live set. I hope listeners feel that same excitement and spontaneity when they hear it.

Looking back since 2019, how do you think your sound has grown or changed? Are there any releases or creative breakthroughs you feel marked a turning point in your style or technique?

Of course, I’ve evolved since 2019. I wouldn’t necessarily say my productions are ‘better,’ but they’re definitely more representative of what I truly want to create. My release on Molekul was a real turning point for me. It felt like I finally let go of the restraint that was holding me back and allowed myself to fully embrace my sound.

That said, to be honest, every release feels like both an ending and a beginning. Each one is different and reflects a specific moment in my creative journey. It’s less about sticking to one style and more about constantly exploring and pushing myself in new directions.

How do you see the ghetto-tech and electro scene evolving?

I think artists like Hi-Tech are really pushing the genre forward and evolving what ghetto-tech can be. You can also hear more and more ghetto-tech influences in tracks from the more mainstream side of techno, which is exciting.

It’s important to remember that trends and hype are cyclical, so it’s hard to predict exactly where things will go. But one thing’s for sure — ghetto-tech is far from being forgotten. It’s a genre with so much energy and diversity that it’s always going to find a way to stay relevant.

Finally, what’s next for you after this guest mix? Are there upcoming projects or new directions you’re excited to explore in the near future?

Well, as you’ve probably noticed, I’m not the most organized person, haha. I’ve got a ton of projects in the works -most of which I’ve probably forgotten about until someone sends me a reminder email about a deadline!

Of the ones I do remember, I’m currently working on an EP for RAW. It’s leaning more towards a techno/ghetto vibe to fit the label’s identity, while still staying true to my usual sound. I’ve also got a pile of remixes I need to finish — sorry to the labels, still waiting on mine, haha.

Since I’ve already released two EPs this year, I’m planning to take some time to make music just for myself. That said, knowing how things usually go, I’ll probably end up releasing three or four more EPs before the year is over.

TRACKLIST

1. 1. 1. Joey Valence & Brae – THE BADDEST
      2. Malaa – OCB
      3. Fode Pra Karalho (GALIHPAN x GALVH EDIT)
      4. Blame The Mono – Industrial Track
      5. Machinedrum – ILIKEU (Camoufly Remix)
      6. SKYHIGH – Left To Right Dub
      7. De La Soul ft Chaka Khan – All Good (BAVR & DC Noises Me De Amor Bootleg – MJ Cole RMX) (HH Clean Short)
      8. Shuga – SKANKA DUB
      9. SWAMP BITCHES (YUNAGY EDIT)
      10. Maneki – TOUGH
      11. Oatcap – Guess Dub
      12. Spice Girls, Duco – JIP 33
      13. DISCLOSURE – FIRE STARTS TO PULL UP (SENOR ROAR EDIT)
      14. Nia Archives X BushBaby – Desire69 Baiana (Senor Roar Edit) 1
      15. OSHIMBA – ONCE AGAIN
      16. Hermeth – Puta Que Pariu
      17. Audio Gutter – Let You In (Ben Pest remix)
      18. DJ SWAGGER – Time To Duel
      19. Hermeth – ID
      20. ??? – TODO ROTO KILLV DUB
      21. Sport Mode – The Technique
      22. Sao Paulo [Altierr Remix] – The Weeknd
      23. Dr. G – RENEGADE MASTER
      24. WTF (HECKI EDIT)

Listen to the previous episode by Frequent here.