Andreas Bühler is a progressive house producer and DJ from Germany, known for his ability to seamlessly guide his audience from the sunny, melodic vibes of the beach to the darker, driving energy of the nightclub.
Today, Bühler’s music captivates global audiences, with support from leading artists like Hernan Cattaneo, Alex O’Rion, GMJ & Matter. Mentored by Dowden and Keith Mills, Andreas Bühler is steadily rising to become one of the standout names in progressive house music.
His latest release, Nixie, is a collab with Dowden. With the release out now, we caught up with him for chat.
How did your early piano lessons influence your approach to producing and DJing progressive house music?
Absolutely, my early piano lessons had a significant impact. I was writing a lot of melodic-based music from the beginning. I’m a big disco fan, which is strongly connected to piano and organ music. In the early years of producing electronic music, I mainly focused on trance, particularly music from the UK and Belgium. I was playing vinyl, for those who remember those black frisbees. Over the years, my style evolved more towards progressive house. I always found it challenging to draw a clear line between trance and progressive house. That’s why I simply call it progressive music. Sometimes it’s more trance-like, sometimes more house-oriented. These influences are reflected in my current productions, combining deep rhythms with beautiful melodic synth lines.
Can you describe the transition from playing piano to DJing in clubs across Germany, Austria, and Poland in the late ’90s?
As a technical geek, I was always fascinated by classic synthesizers. I love the sound of Prophets, Junos, and how they transform when combined with FX pedals. When I got my first Juno and ran it through a delay pedal, I knew this was my thing. Classical piano wasn’t enough anymore. When electronic music rose in the ’90s, I wanted to turn knobs, produce my own songs, and play them in clubs. So, I started DJing.
How did iconic artists like Deep Dish, Paul van Dyk, and John Digweed shape your musical style and career?
I was influenced by the darker, deeper sounds of the club world. I started DJing and producing music when underground music was “the thing.” John Digweed and Sharam from Deep Dish were my idols. Their dark, driving rhythms captivated me. I experimented with combining these deep grooves with melodic parts. When “For an Angel” by Paul van Dyk hit the dance floors, something clicked for me: driving rhythms and a serious melody. Paul teased the melodic part so well that the dance floor exploded when it fully played. His album “Politics of Dancing” is still a masterpiece for me. It spans various genres, including trance, breaks, and progressive. This inspired me to experiment with different genres and transition more towards progressive music.
What sparked your interest in vintage synthesizers, and how do they contribute to your production process?
I was always fascinated by the raw character of these machines. A Yamaha DX-7, despite being digital and fully programmable, had limited technical possibilities at the time of its production. Modern soft synths are like spaceships compared to a DX-7 or a classic Minimoog. But true analog distortion from an analog circuit has a unique charm. I mainly produce “in the box,” but my hardware synth collection is a source of inspiration. It allows me to create new ideas by turning real knobs, decoupling from the screen and DAW, and then recording back into the DAW. It’s a fun way of working, often resulting in happy accidents during sound manipulation.
Can you walk us through your evolution as a producer, from using Cubase in 1996 to your current preference for Ableton Live?
I started with Cubase VST on a Schneider PC 486 DX2-66, using it mainly as a MIDI sequencer to trigger my external synths. I used Cubase until version 9.5, then switched to an Apple system, which was a game changer in stability and performance. Many professionals around me used Logic Pro, so I tried it with my new Apple system and loved it. The workflow was much faster than Cubase. Around 2005, I first tested Ableton Live, which was another game changer. Its sampling capabilities, syncing possibilities, and Session View workflow were exactly what I needed. Ableton became my main DAW, although I still used Logic for its timeline-oriented approach. Today, I do all my main work in Ableton Live and finalize my tracks in Studio One.
How has joining Finish More Music (FMM) and working with Keith Mills impacted your creative process and career trajectory?
In 2018, I joined Finish More Music because I struggled to finish music. Imposter syndrome was creeping in, and I needed a mentor to help me overcome my weak points. Keith Mills was a fantastic mentor. He invited me to his high-level coaching program FMM+, where I worked closely with him and my group. Together, we delivered track after track. Keith helped me overcome my barriers.
What was it like collaborating with artists such as Nick Muir, Dave Gardner, and Quivver, and how did these partnerships influence your music?
Keith arranged for us to work in a big studio in London once a year. We had masterclasses with pros and worked on our productions for a full week. Working with Dave Gardner, the main producer behind Sasha, was an honor and gave me insights into top-level production techniques. Nick Muir, the main producer behind John Digweed, taught me new sampling techniques and how to build locked-in grooves. Gaining confidence when Nick played one of my tracks on his radio show was incredible.
Tell us about your latest single, “Nixie.” What was it like collaborating with Dowden on this one?
I started working with Dowden about 4-5 months ago. I was always a big fan of his style. Our collaboration harmonized well, and we quickly got into the zone. I showed him a track I started years ago, which I believed had potential but was missing something. We agreed to collaborate, and “Nixie” was born. I was thrilled when he proposed to send it to Alex for his upcoming release on Alex O’Rion’s Solis Records, and Alex picked the track. I’m happy that our EP made it to No. 1 in the release charts on Beatport. Dowden is now a mentor of mine, and I’m thankful for his support.
How do you balance the melodic vibes of beach settings with the darker energy of nightclubs in your sets?
It starts with a decent warm-up. Starting the night easy is crucial, transitioning from the mood of the sunset on the beach to the dance floor. I begin with 118 BPM, gradually increasing the pace to 120-122 BPM, making the set more rhythmic and deeper, yet less melodic. Playing deep and hard, but easing out with a deep vocal line or atmospheric track, is key to building and pushing the tension throughout the night. “Nixie” is a perfect example. Imagine standing on the beach at sunset with a cocktail, and this track makes you start dancing.
With support from prominent artists like Hernan Cattaneo, Alex O’Rion, GMJ, and Matter, what are your next goals or aspirations in the progressive house scene?
One big goal is ticked: I’m proud to be part of the Solis family. The progressive house scene is like a big family, and I love that. It’s about quality music. Labels like Sudbeat, Meanwhile, and Replug are very picky for good reason. My main goal is to release music regularly, aiming for these top labels. Meanwhile has always been a dream for me. But the most important thing is to bring quality music to the people. Expect to see me behind the decks again. Let’s see where the journey takes me. To be continued!
Nixie is out now on Solis Records
