Spot on – Old Man Crane – frohfroh – electronic music from leipzig

Leipzig's bass scene has been experiencing new boosts at various points for several years. This summer we came across a producer who flashed away with her debut EP-time for a spot on.

For some bass heads, Old Man Crane should no longer be an unknown name. As part of the ventral vibration and Bassmæsage crews, she has been to experience as a DJ in Leipzig a few times. In mid-July, her first release was released with the “Hepp EP”-and that directly with the renowned Parisian bass label Bait. This is operated by DJ and Radio host Beatrice M., who was enthusiastic about Old Man Cranes Demo tracks early on. Completely right. Because their tracks move super conclusive and mature between the post-double, techno and experimental dub. Dark and minimalist, with a much subtle pressing sub-bass, subtle vocal samples and very precise percussion arrangements. All of this creates an incredibly successful dark immersed and exciting pulsating and organic-dep atmosphere. Here is the “Hepp EP”:

It is all the more astonishing that Marie Aka Old Man Crane has not been traveling in the bass area for so long. In the highly recommended radio blue show “Diving Into …” she was also a guest recently and said that she actually came out of punk and could initially do little with club music. The awakening for the physical and tonal fascination of bass music came at a Bassmæsage party-a track by the Berlin Dubstep Producers Orson popped so quickly that Marie quickly dealt with producing. Further insights into her musical socialization and contact with Beatrice M. she tells in “Diving Into …”:

„I try to keep myself away from this idea of perfectionism“ – Interview mit Old Man Crane

For the deep dive of our new in Radio 05/2025, we also sent Marie a few questions that she answered with Audios. This has now created a small interview with further answers from her that we have prepared for our spot on:

Why did bass music move you to produce? You were very interested in musically.

I used to make music in the past, rather at a dilettant level – a little drum, sometimes a little jam around on a guitar, but I never enjoyed a musical training and had never had ambitions to learn an instrument and sit down there forever and then put together a band at the end. Somehow you are very dependent on other people and take care of gigs for this and put on a stage I just never had these ambitions. When I heard these tracks on a sound system at the Bassmæsage, I had my bass moment. That just had a huge impact and from then on I was even thinking about how I can make music. I then had the financial means to get a laptop – the hurdle is much lower than, for example, learning an instrument. I don't want to say that it is less complex, but you can get something reasonably loan faster than if someone is now pushing a cello in my hand. And I can also make complete tracks all by myself without being dependent on anyone. At the same time, I can hold myself in the background, simply put down the things and let it be and continue to edit later – so the inhibition threshold is significantly lower to just try it out. That could probably have happened with any other music direction that is electronically feasible and then sounds good – but for me it was just the bass music.

You said with Anja from “Diving Into …” that you originally come from punk: How much punk is in your view in your music?

In principle, I just got started relatively easily. I really just wanted to do it first. And overall not that much has changed. So I learned everything I learned in the process. I haven't read in or somehow. This started relatively spontaneously and then developed a dynamic of our own. And I still try to stay away from this idea of perfectionism. Simply not to break my tracks through a constant urge for perfection. Because the effect is in the foreground. And at some point I'm just fine with it. I want to have completed it at some point. Therefore, this may be a punk aspect that just make it and see what comes out. And I don't have this need to place someone, to meet any expectations or anything else. I have to like it first. And of course it's super cool when other people like my music. But I also don't claim to be nasty now or to finance my whole life with it. It should stay hobby. Accordingly, I can treat myself to a bit of freedom.

I don't have to imitate anything at all, because it also makes fun of it. And that's why I wildly combine my sounds that I build there. This might make it any other effect – a little more organic or maybe a little more strange. It is important to me to do something of your own. Of course I have already tried to recreate things or somehow work with reference tracks. But somehow I can't get along so well. I just feel the fun. And it somehow no longer sounds like Old Man Crane when I try to create something that already existed. Just then with other sounds. That's why I'm relatively free and thoughtless.

What is your favorite tool or your main inspiration when producing?

My inspiration actually comes while doing. So I can't say now that I have to have it and the surrounding area or I have to sit on the train or whatever. I've already made tracks after night shifts. I made tracks on vacation, traveling. As soon as I want to make music, it happens in the process. Most of the time I start with a percussion pattern. I just enjoy it the most. The rest of the track then consists of like a puzzle. The recordings that I do with the hardware also play in. Sometimes there are simply days when I feel like sitting down and getting around with the hardware. Of course, these recordings then play a major role because they are an essential part of this puzzle.

In terms of hardware, I fell in love with the Moog Dfam and the MiniTaur. They simply deliver my beautiful, atmospherically creaking basses or percussions. Somehow you can get a lot of beautiful organic sounds from it. Another thing, especially for pads and to create atmosphere, are Jams with the Soma Lyra 8. I usually really absorb the whole thing over track length. Sometimes it is a little more, you can really get lost and bring with you for a whole afternoon. But mostly I already take up track lengths with modulations etc. in the jam and actually only has to whistle under the track and then there is something. And when it comes to software, my favorite tool is actually a good EQ. So in my case the Pro-Q 4 from FIB filter. For me this is an absolute must-have. Otherwise, I also like to work with LFO tools and things that keep my individual elements a bit in motion. This then creates a slight modulation across the track, which is usually a relatively savings for me – and so interesting sounds and modulations are created.

Your sound moves very organically and fluid between bass, breaks, dub and techno – what are the central elements for you, which still hold your sound together so well?

I believe that my tracks of sub-bass and percussion are held together. These are the load-bearing elements that always run through and perhaps this in-between. And certainly also by the fact that my arrangements are relatively simple, even more technoid and overall quite reduced. So compared to many other tracks that are pouring around, I think, not so much happens with my tracks now. The sounds should work for themselves and not go under. So I like it when I also perceive the small details and hear them out. In terms of sound technology, I use all possible things, but it always needs this sub-bass, otherwise it would not be a bass music. If it were missing now, somehow nonsense would be. I believe that these wild combination of bass sounds produces something interesting on the one hand. And then interlocks with sub-bass and the percussions, this still results in something coherent, which hovers between the styles.

Sorry, I can't let the question: What is your artist name-is there a story behind it?

I deliberately decided not to explain this in more detail. On the one hand, there is of course this game with the sexes and gender roles. That still seems to irritate a lot of people. With regard to this, I find the names quite funny. And on the other hand, I don't want to explain the more meaning. I just heard such beautiful ideas and association from other people – that's just better than any reality.

Thank you thank you. If you want to immerse yourself even more into the sound of Old Man Crane, then definitely check this Bait mix, which only consists of tracks:

And here is another tip: On August 23, 2025 there is a “Hepp EP Record Release Special” of the Ventral Vibration series in the early on. With the extremely sub -bass zoumo sound system and of course old man crane on the decks. DJ Badshape, Donna G, Kali Avaaz and Solaris also play. A real dream line-up.