Rebekah

Birmingham-born musician Rebekah makes club music that combines distorted aggression with pristine sound design. Danny Turner casts an eye over the uncompromising producer’s Berlin-based studio

Entranced by the city’s nascent dance scene, trainee chef turned budding producer and DJ Rebekah watched in awe while club legends Derrick Carter and LTJ Bukem performed at Birmingham’s legendary Que Club. Influenced by the sound of house, trance and techno, she played her second ever gig at the venue, enrolled in a music production course and signed to Judge Jules’ management agency in a bid to further her DJ career and reach for the stars.

However, things didn’t go to plan. Feeling her early productions and DJ sets lacked authenticity, Rebekah fled the industry only to return when Richie Hawtin relit the scene with his minimal approach. An artist reborn, Rebekah transitioned from house to techno with a new, powerfully aggressive take. Today, she’s never been in a better place, slamming dance floors around the globe with her ferocious releases and ear-catching sets.

Tell us about the young Rebekah, working close to Birmingham’s Que Club and your sense of curiosity at whatever was going on in there…

“I trained as a chef in a French restaurant a couple of doors down from the Que Club. I was already clubbing a little and had my turntables, so I was already an aspiring DJ, but I’d save all my tips from the week and spend most Saturday nights at the club where I listened to all sorts. I remember seeing Derrick Carter playing a deep house night and LTJ Bukem’s Logical Progression night. Atomic Jam’s techno parties and stuff from Spacehopper really stood out too, so I got exposed to techno, Goa trance and all the acid-sounding stuff. I was in awe, but techno was definitely in my soul.”

The club was a former Methodist church