Jan Grebenstein is a producer, DJ, and artist from Kassel. After years as a drummer and guitarist in various bands, he made his solo debut in 2014 with a four-track EP on Downwards Records, the label run by Regis (Karl O’Connor)—a label that has stood for uncompromising techno and industrial aesthetics since the 1990s. Under the name Grebenstein, he developed a minimalist, physical sound that blends techno, industrial, and experimental electronic music. This was followed by releases on the experimental labels Horo—including the EP “Gloss” (2017)—and Osiris Music UK, which further refined his signature style: sparse, economical production and tension created through omission. In 2021, a second alias, GEZA, followed: The debut “Dialoge” on Avian emerged as a reaction to a love-hate relationship with techno—produced under self-imposed restrictions: a maximum of five minutes of recording time, no more than four tracks per piece, and a synthesizer with an 8-step sequencer. The use of limitation as a method runs through both projects as a defining approach. Grebenstein has performed live and as a DJ on major stages of the experimental club music scene: at the CTM Festival in Berlin, at the Säule in Berghain, and at Tresor Berlin—most recently in 2024 at “Tresor meets Downwards” alongside Regis and Ancient Methods—as well as at the Lunchmeat Festival in Prague, at KHIDI in Tbilisi, and at the Electro-Mechanica Festival in St. Petersburg. In addition to his work in music, Grebenstein works as a designer at the creative agency Dorfmeyster, developing visual identities and communication concepts for, among other things, cultural and foundation projects. He does not view sound and image as separate disciplines, but rather as two forms of expression within the same practice.

The performance combines my live set with sound-reactive visuals, which also form the basis of the Range Festival’s visual identity. The audience thus does not experience an illustration of music—they witness the festival’s identity taking shape. The concept stems from the intersection of my two practices, and in this performance, both roles converge: The festival’s visual system is not pre-programmed but is controlled in real time by sound—the frequencies, dynamics, and rhythm of the music directly influence the form, movement, and density of the graphics. Musically, the set ranges from minimalist techno to industrial and experimental electronic music—following the aesthetic of my previous releases: sparse, physical, and economical. This minimalism is reflected in the visuals: no decorative embellishments, but rather a strict system that comes to life under the influence of sound.