Nick Acid Rising: How Germanys Acid Rave Visionary Is Taking Over the World
Some producers chase the rave sound from the outside. Nick Acid sounds like he lived inside it, learned its pressure points, and then rebuilt it with his own wiring.
That is what makes his rise feel different. This is not a producer suddenly arriving with a borrowed aesthetic, a few acid lines, and a retro logo. Nick has been shaping his approach since 2006 under other aliases, slowly building a language through years inside the German dance community. The result is music that understands rave culture as more than a style. It treats rave as memory, energy, release, and structure.
His tracks carry the DNA of classic acid and hard dance, but they do not sit still in nostalgia. They move. They mutate. They tell stories through stabs, leads, harmonies, groove, and low-end force. That balance is why Nick Acid now feels like an artist ready for a much bigger stage.
Nick Acid’s sound comes from years inside the German rave circuit
Nick Acid is not trying to cosplay the past. His sound feels convincing because it comes from a long relationship with the culture. Since 2006, he has been crafting music under different names, absorbing the rhythm, tension, and communal force of German dance floors.
That matters. Acid is easy to imitate on the surface. A squelching bassline and a 303-style pattern can get a track into the right neighborhood. But making acid feel alive is another skill entirely. It takes patience. It takes taste. It takes an ear for when repetition becomes hypnosis and when it becomes routine.
Nick Acid seems to understand that difference.
His tracks are strict in their acid identity, yet they never feel boxed in. The sound is full of familiar rave ingredients:
Acid rave stabs that hit with urgency
Acid leads that twist and climb
Harmonies that add emotion without softening the impact
Hard and techno low end that gives the tracks real physical force
Arrangement choices that keep the floor guessing
The music works because it moves with purpose. Every sound appears to lead somewhere. A stab opens a door. A lead raises a question. A breakdown gives just enough space before the next push. The listener gets another piece of the puzzle as the track unfolds.
That storytelling side is key. Nick Acid understands that rave music can be functional without being flat. A track can hit hard and still have a narrative arc. It can be made for DJs and still feel personal. That is where his experience shows.
Pulverträume and Worldwide Rave Crew show two sides of the same vision
Two tracks in particular show why Nick Acid’s momentum makes sense: “Pulverträume” and “Worldwide Rave Crew.” They do not sound like simple exercises in genre. They sound like an artist testing the limits of what his acid language can do.
“Pulverträume” is a perfect example of his control over pressure. The track uses a hard dance low end that gives it weight from the start. It is not just heavy for the sake of being heavy. The bass and kick create a body impact that supports the acid elements above it.
Then the rhythm starts playing with expectation. The movement from 4/4 drive into triplet-like momentum shifts the floor under the listener. That kind of switch can feel forced in the wrong hands. Here, it adds tension. It makes the track feel unstable in the best way, like the room is being pulled into a different gravitational field.
“Worldwide Rave Crew” hits from a different angle. The high-octave synths and acid leads create harmonics that feel bright, hypnotic, and strangely beautiful. There is intensity, but there is also lift. The track carries the feeling of a crowd locked into the same signal, with the synths rising above the drums like a call to anyone who knows that first-rave feeling.
That is one of Nick Acid’s strongest traits. Even at his hardest, he leaves space for emotion. The tracks are polished, but not sterile. They are controlled, but not cold. They have enough detail to reward close listening and enough force to work when the only thing that matters is the system in front of you.
The past is present, but the tracks keep looking forward
A lot of rave-inspired music gets trapped by reference points. It wants to sound like a classic era so badly that it forgets to become something new. Nick Acid avoids that trap because he treats the past as fuel, not as a cage.
You can hear the old-school rave knowledge in the structure. The stabs have that hands-in-the-air bite. The acid leads know when to get raw. The drums understand the physical needs of the floor. At the same time, the production feels modern, polished, and active. The sound is not dusty. It has punch, clarity, and motion.
That blend is what gives the project its personality.
Nick Acid seems to know that rave music works best when it creates anticipation. A great track does not give away everything at once. It introduces an idea, bends it, strips it down, brings it back with more charge, and then reveals something new. This is where his arrangements stand out. They rarely feel like loops stacked without direction. They feel like stages in a night.
That is also why the music connects emotionally. It brings back the feeling of walking into a first rave, when every sound was unfamiliar and every light hit harder than expected. The kick was not just a kick. The room was not just a room. It felt like a door opening.
Nick Acid taps into that feeling without reducing it to nostalgia. He brings out the kid in the listener, the one who still remembers why this music mattered in the first place. That is hard to fake.
The best Nick Acid tracks feel like they remember the warehouse, but they are not afraid of the festival stage.
That line between memory and momentum is where he is strongest. His music respects the roots of acid rave, but it does not behave like a museum piece. It is built to move now.
His collaborations show range without losing identity
Nick Acid’s solo work makes the case for his sound, but his collaborations suggest something just as important: he can carry that identity into other creative worlds.
His work with Miss N-Traxx brings groove into sharper focus. The tracks linked to that partnership show a producer who can make acid feel tough and fluid at the same time. Groove can be overlooked in harder rave music, especially when the goal is pure impact. Nick’s productions do not forget the body. They know that the best dance floor moments often come from swing, bounce, and tension between the hits.
Then there is the connection with Melow Trax and DJ Gollum on an updated version of “Phuture Vibes,” a classic tied to the late 90s rave era. Touching a track with that kind of history takes care. Push it too far and the spirit disappears. Stay too faithful and the update has no reason to exist.
Nick Acid’s involvement makes sense because his whole sound lives in that conversation between then and now. He understands why older rave records still matter. He also understands that a new version needs new energy, not just modern polish.
Collaborations often reveal whether a producer has a real musical identity or only a bag of tricks. Nick Acid’s identity holds. Whether he is working around groove, classic rave memory, or darker underground pressure, the acid core remains clear.
Nick Acid knows the dance floor from both the bright stages and the dark corners
One of the most exciting parts of Nick Acid’s rise is his range within a very specific sound. He is not jumping from style to style for attention. He is exploring different rooms within the same acid-rave building.
On releases connected to Kurai, the energy leans into rave impact. These are the kinds of tracks that make sense on bigger systems, at festivals, and in peak-time moments where the crowd wants lift and release. The sound is direct, but not basic. It keeps enough detail in the acid work to avoid feeling like pure festival machinery.
By contrast, his underground acid material on Neptune Records points toward a darker and moodier space. This is the side that feels made for low ceilings, late hours, and rooms where the crowd is not asking for comfort. The acid lines can feel more shadowed. The pressure feels more internal. The music still drives, but it does so with a different kind of intensity.
That split matters because it shows a producer with real dance floor awareness. A festival field and a basement club do not ask for the same kind of track. The best producers know how to build for both without losing themselves.
Nick Acid seems to understand:
When a track needs a bigger rave signal
When it needs restraint and darkness
When the low end should dominate
When the acid line should lead the entire story
When harmony can make a hard track feel unforgettable
This is why his music can appeal across scenes. It can work for ravers who love harder, brighter peak-time energy. It can also reach listeners who want something moodier, stranger, and more underground.
The common thread is intent. Nick does not throw acid sounds over a kick and hope the result feels authentic. He shapes each element around the space the track wants to occupy.
Why Nick Acid’s rise feels earned
Some artists break through because a scene suddenly makes room for them. Nick Acid feels different. His rise feels earned because the foundation was built over time.
The years matter. The aliases matter. The German dance community matters. The understanding of rave history matters. None of these pieces alone would be enough, but together they explain why the music lands with such force.
There is also a larger reason his timing feels right. Acid is having a powerful moment again, but the most interesting artists are not simply repeating the past. They are pushing its emotional and physical language into new settings. Nick Acid fits that movement because his sound is both disciplined and restless.
He knows what ravers want from the old-school signal:
Tension
Release
Familiar rave pressure
Acid lines that feel alive
Moments that turn a room into one shared pulse
But he also knows that modern tracks need movement. They need detail. They need clean force. They need to change shape before the listener gets too comfortable.
That is where Nick Acid’s productions shine. They do not rely on one central trick. A lead may pull you in, but the rhythm keeps changing. A kick may dominate, but a harmony shifts the mood. A stab may trigger an old memory, but the arrangement pushes it toward something current. We caught up with Nick Acid for an exculsive interview brought to you by Beatport and PLUGIN BOUTIQUE, and this is what he had to say.
Treavor:
First of all, thank you for your time. I appreciate it, and congratulations on your recent Beatport releases.
How did the name Nick Acid come to be? You have an amazing talent as both a DJ and a music producer! When did your DJ career take off? Tell us all about those exciting early days and the incredible journey that brought you to where you are today!
Nick Acid:
I basically started my DJ career when I was 15. That’s when I bought my first setup, two turntables and a mixer, and really started getting into DJing. By the time I was 18, around 2004 or 2005, I had my first residency at a large club. Back then, I was mainly playing Hands Up and later moved into harder styles like Hard Trance and Hardstyle. But all of that was still under different artist names.
Over the following years, DJing and producing became a huge part of my life. I released music on different labels, did remixes for established artists, appeared on major compilations and played shows not only in Germany, but internationally as well. So when I started Nick Acid, I already had many years of experience as both a DJ and producer behind me.
The Nick Acid project itself didn’t start until 2020. At that time, I was getting more and more into Techno and realized that I could really identify with that sound. The newer Hardstyle of that period just didn’t excite me anymore. The mixing sections were getting shorter, the arrangements often followed the same formula, and the main parts just seemed to get harder and harder.
After DJing for so many years, I wanted music that gave me more freedom behind the decks. I enjoy longer transitions and more technical mixing, and at some point I simply wasn’t getting that from the music anymore. That’s what brought me to Techno and eventually to Nick Acid.
I’ve always been fascinated by the timeless sound of acid, so when I started the project, I wanted to make a commitment to myself: acid should always be part of my sound. I knew that calling myself “Nick Acid” could be a little provocative, especially with legends like Rob Acid and Kai Tracid who have helped shape that sound and culture.
But that was also part of the reason why I wanted the name. It was almost like making a promise to myself. If I call myself Nick Acid, there’s no real escape route and no Plan B. Acid has to be part of what I do. And that commitment ultimately became a big part of my musical identity.
Treavor:
You truly embody the essence of the rave scene. While some sounds are featured at renowned venues, your music distinctly resonates with the underground rave vibe. Listening to your tracks, it's clear you have a deep understanding of what ravers seek. How did you achieve this?
Nick Acid:
I’m actually not sure, because it’s never something I consciously plan. I never sit down in the studio and think, “Okay, now I’m going to make something that sounds underground or like a rave.” But I think you can hear a lot of influences from my early days in my productions. There are elements of the older rave music that I used to play and, in some cases, produce myself.
I don’t deliberately bring those influences back, they just come naturally because they’re part of my musical history. I also believe that music, like so many things, moves in cycles. Certain sounds, ideas and elements disappear for a while and eventually find their way back into new music, just in a different context. So maybe what you hear in my tracks is simply my own history meeting the music I’m making today. And it makes me really happy to see that some of those older influences and sounds are connecting with ravers again today.
Treavor:
Who are your musical influences, and what have you gained from them? You collaborate frequently with the incredible Miss N-Traxx; how did that partnership develop?
Nick Acid:
I wouldn’t say there is one particular artist that I constantly look at or compare myself to. I think it’s important to find your own way rather than always looking at what somebody else is doing. But of course, there are artists who have influenced me and still do. Kai Tracid and A*S*Y*S have definitely been important influences, especially when it comes to acid and the combination of harder electronic music with those unmistakable 303 sounds.
More recently, artists like T78 and Marie Vaunt have also had a strong influence on my productions and, maybe even more importantly, on the way I think about music. What I really like about T78 is the way he incorporates elements of Early Hardstyle into modern Techno. He takes those influences and uses them in a very creative way rather than simply trying to recreate the past.
With Marie Vaunt, I’m always impressed by the quality of her productions and the way she manages to take harder tracks and still give them a more accessible, almost commercial edge without losing their power.
Miss N-Traxx and I actually go way back. We first met during my residency around 2004. She was already a DJ herself and started playing at the same club. We began making music together very early on and eventually started producing tracks together as well.
Musically, our individual paths moved further apart over the years, although we never really stopped working together behind the scenes. From around 2021, our musical directions started moving closer together again, and by 2024 we had completely reunited creatively. So there’s a very long history behind our collaboration. We’ve known each other and made music together for more than 20 years now, which obviously creates a very different kind of chemistry in the studio.
Treavor:
Let's delve into Production. Your sound is defined by acid lead and vibrant rave-like elements. How did you develop this style? Your sound is unmistakable, and you inject each track with creativity. You are genuinely original, boldly exploring your musical landscape and integrating it into your sound design.
Nick Acid:
First of all, I’m really happy to hear that, because I think creating a recognizable sound is something every producer wants to achieve, but without using exactly the same setup or formula in every track. For me, acid is obviously the central element. Most of the time, I build everything else around it.
I also love powerful, punchy kicks and driving offbeat basslines, which probably comes from my musical background as well. I like my tracks to hit hard and constantly push forward. A lot of my approach is about energy. I like to build and concentrate that energy towards the drop, but without creating that typical big EDM or Tomorrowland-style drop.
I want to keep the drive and character of Techno while still creating those moments where the energy really explodes. Elements from Rave, Early Hardstyle or even Hands Up often find their way into my productions naturally. They’re simply part of my musical DNA.
At the same time, I love experimenting and trying things that might be a little unexpected. Especially in the breaks, I sometimes use themes, sounds or ideas that are deliberately different, sometimes even a little funny or strange.
I like creating moments that make you think, “What the hell was that?” but that you still remember afterwards. For me, that combination is probably the key: acid as the foundation, a lot of energy and drive, influences from my musical past, and enough freedom to do something unexpected.
Treavor:
"Cosmic Master" is an outstanding track, a collaboration with Miss N-Track. Could you describe the process of working with a long-time collaborator and how you both divide production duties?
Nick Acid:
"Cosmic” was created at a time when we were still relatively new to Kurai Records and a lot of things were starting to come together for us. We had released our first single there as well as a remix for Marie Vaunt, and then started working on a follow-up EP. That was already back in 2024 – it’s crazy how fast time goes.
The way Miss N-Traxx and I work together has actually always been pretty much the same. We sit in the studio together and develop the ideas as a team. Usually, we start by thinking about a theme or a certain feeling we want the track to communicate. That gives us a direction for the whole production, because for us the theme has to fit the sound of the track, and the sound has to fit the theme.
With “Cosmic,” for example, we deliberately wanted to create this feeling of space, so we incorporated a lot of cosmic and space-inspired elements into the production.
We spend most of the production process sitting in front of the track together, so there isn’t really a strict division where one of us is responsible for one particular part and the other does something else.
What makes the collaboration interesting is that we approach music a little differently. I probably tend to look at things from a more technical perspective, while Natascha listens to the music much more from an emotional point of view. And she very often comes up with that one final idea that gives a track the finishing touch.
I think that combination works really well for us. We’ve been making music together for such a long time that we know each other’s strengths, but we can still surprise each other with new ideas.
Treavor:
"Oblivion" is an exceptional track with an exquisite groove, and the moody, dark elements in the break add remarkable tension. What is your strategy for crafting a break that is both inviting and delivers tension and release to the listener?
Nick Acid:
To be honest, that’s actually quite difficult for me to answer because I don’t approach it in a very structured or technical way. A lot of it is based on feeling.
“Oblivion,” as the name suggests, has a much darker atmosphere. In a way, the track tells a vampire story. Interestingly, even that wasn’t really planned from the beginning. But as the track developed, everything started to fit together perfectly, including the fact that it was released on the still relatively young Kurai Records. “Kurai” is Japanese for “dark,” so it couldn’t have been a much better match.
In general, I like to create real breaks rather than simply stripping the track down to some percussion and then using a few build-ups and uplifters to get back to the drop. I want the break to have an actual theme and to become part of the story of the track.
Sometimes that approach might work a little less effectively on the dancefloor than a straightforward build-up, but for me it gives the music much more depth. And I really like that. It also gives me the opportunity to make the next drop less predictable. There’s almost nothing more boring to me than having exactly the same drop twice in one track, where the second one basically feels like it was just copied and pasted from the first.
I want something to change. Maybe it’s the acid line, the rhythm, a new element or a completely different energy. So for me, the break isn’t just a way to connect two drops – it’s an opportunity to take the track somewhere else and make you wonder what’s going to happen next.
Treavor:
"Pulvertäume" combines a harder low end with a much faster BPM compared to the previous work we discussed. I absolutely love this track; it perfectly captures the essence of the rave scene that I admire. What inspired you to create it? The changes throughout the track are fantastic, especially the triplets, which were a real highlight. I appreciate those kinds of variations in a track. It's truly a standout piece for me.
Nick Acid:
First of all, I’m really happy that you like the track so much! “Pulverträume” was actually intended to be a B-side from the beginning. I’ve always loved B-sides because they give you the freedom to experiment, try something new and push the boundaries a little further. That’s also something I’ve always loved about albums: you can explore completely different sounds and production techniques without everything having to fit into the obvious single format.
I had actually written the lyrics for “Pulverträume” quite a long time ago. They were originally intended for a possible collaboration with DJ Gollum, but we ended up making “Bass Ballert Laut” instead. The lyrics of “Pulverträume” are deliberately ambiguous. If you understand German, there are different ways to interpret them, and I like leaving that freedom to the listener rather than explaining exactly what they’re supposed to mean.
Musically, I also want Nick Acid to occasionally move into the 155 BPM range without becoming straight-up Hard Techno. I still want it to feel like Peak Time Techno and keep the production a little cleaner than what you would typically associate with Hard Techno. So “Pulverträume” combines this strong German vocal with powerful kicks and a really scratchy, fast-moving acid line. Together, they create a huge amount of energy.
But I didn’t want that energy to stay the same throughout the entire track. There’s another kick change in the middle before the track moves into a triplet section. I really like using triplets because they immediately change the groove and can inject a completely different kind of energy into a track.
Those triplet sections have almost become a recurring theme throughout my productions. I don’t use them in every track, but they keep finding their way back into my music.
It’s another example of trying to keep a recognizable identity while still giving myself the freedom to surprise people, and myself, within a track.
Treavor:
Let's discuss "Worldwide Rave Crew," an outstanding track with undeniable energy. The use of higher octaves in your leads is distinctly German, reminiscent of the Tunnel Club sound. Your layering of acid leads with synth leads is flawless. How do you perfect the layering process?
Nick Acid:
I love “Worldwide Rave Crew”! The track originally started as a kind of follow-up to “Kick That Bass,” again using an MC and those typical call-and-response vocals.
“Kick That Bass” was created while we were preparing for ADE 2025, and at first we weren’t even sure whether that approach might be a little too commercial for this kind of music. But when we played it in Amsterdam, we immediately realized how well it worked with a crowd. And considering that the track is still being played on mainstages today and has even been played at events like Tomorrowland, I knew I wanted to explore that idea again.
The melody of “Worldwide Rave Crew” is based on a traditional folk melody dating back to around 1600. I’d had that melody in my head for quite a while and eventually found the right place for it in this track. Combined with the Binary synth, which has this almost magical character to me, it actually does create some of that classic Tunnel sound you mentioned.
And it’s funny that you brought up the Tunnel, because there’s a real connection to my own history. The club where I started working as a DJ was basically the partner club of the Tunnel, and I also played at the Tunnel many times myself, for a while, even once a month.
So yes, you could definitely say that this legendary sound from that era still influences my productions today. Again, though, it happens subconsciously. I never sat down to make “Worldwide Rave Crew” and thought, “Let’s make this sound like the Tunnel.” It’s simply part of where I come from musically.
As for the layering, the lead melody sits very high in the frequency range, which actually makes it quite easy to combine with deeper, more bubbling acid lines. They naturally occupy different spaces, so they don’t interfere with each other too much.
But I also use dynamic EQ quite a lot. I’ll have one sound trigger the EQ on another, so whenever certain frequencies start competing, the dynamic EQ makes some room. That way, both sounds can stay powerful and present without fighting each other.
So the layering is partly sound selection and arrangement, and partly technical. If the sounds already complement each other naturally, you don’t have to force them together in the mix.
Treavor:
I'm a huge fan of Mellow Trax and still proudly own one of his mix CDs. It was truly exciting to hear your remake of "Phuture Vibes" with Mellow Trax himself and DJ Gollum. I'm eager to hear the story of how the three of you came together and the process of remaking such an incredible classic.
Nick Acid:
DJ Gollum and I share a very long musical history. We’ve known each other for almost 20 years now, and back in the day I had the opportunity to do a lot of remixes for his different projects.
I learned an incredible amount from him during those years, especially through all those feedback and “correction sessions,” haha. And honestly, I still learn from him today. I would definitely describe him as a kind of mentor to me.
We both come from northern Germany and have stayed in touch throughout all these years. He also followed my development with Nick Acid, and at some point he asked me if we should finally do an official collaboration together.
We knew we wanted to do something with acid, and since we’re both huge fans of the original “Phuture Vibes,” we decided to give it a try, without actually talking to Mellow Trax first!
The idea was to bring the track into the present and give it a fresh sound somewhere between modern Techno and Hard Techno, while still preserving the character of the original. And there was one thing we both agreed on from the beginning: it had to hit hard.
Since Gollum and I both work in Cubase, the production process was quite easy technically. We could simply send the project back and forth and each continue working on it.
Once we had a version that was more or less finished, we finally gathered the courage to show it to Mellow Trax. Lars (DJ Gollum) contacted him, and luckily they already knew each other from the old EDM Records days. EDM Records was and still is Mellow Trax’s label, and Gollum had released a lot of music there over the years.
Luckily, Mellow really liked what we had done with the track. From that point on, it became a real three-way collaboration. The three of us locked ourselves in the studio for a day and worked on the final version together.
Mellow brought in a lot of new ideas and changes, and with him being directly involved, we were also able to incorporate more of the original vocals. That really brought everything full circle.
For me personally, the whole collaboration was a bit of a dream come true. I still own the original “Phuture Vibes” on CD, along with tracks like “Sway,” and I used to listen to that music over and over again back then. So to eventually sit in the studio together and create a new version of one of those records was really special to me.
Treavor:
What are your essential plug-ins? What's a must-have piece of hardware in your studio?
Nick Acid:
When it comes to hardware, there’s one thing I absolutely can’t live without: a 303.
I currently use the Behringer TD-3 and TD-3-MO as well as a Roland TB-03. I’m still looking for an original TB-303 in good condition at a reasonable price, so if anyone has one, let me know! Without these little boxes, Nick Acid simply wouldn’t be Nick Acid.
For plug-ins, Serum and Avenger are still two of my absolute go-tos. I’ve been using them for a long time and they’re incredibly versatile, so I keep coming back to them in almost every production.
Treavor:
What advice do you have for an up-and-coming producer?
Nick Acid:
My biggest advice would be: don’t chase trends. Make the music you genuinely love and that you can stand behind 100 percent.
If you really believe in your sound, you’ll represent it much more authentically and you’ll put more passion into the music. I believe that, in the long run, this will also affect the quality of your productions and hopefully, eventually, your success.
At the same time, we have to be realistic about today’s music industry. There’s almost no way around social media and creating a lot of content anymore. So if I were starting today, I would take that seriously from day one and build a professional social media presence alongside the music. Don’t wait until you have a big release or a label behind you. Start building your identity and your audience early.
And finally: build a network. This industry is still very much about people and relationships. Events like Amsterdam Dance Event can be incredibly valuable, but it doesn’t always have to be one of the big industry events. Going to smaller local events, meeting promoters, other artists and people from labels, and simply becoming part of the scene can be just as important.
So I’d say: find your own sound, make yourself visible, and get out there and meet people. But always start with the music you truly believe in.
Treavor:
What advice do you have for your younger self?
Nick Acid:
The first thing I would tell my younger self is: don’t create a new artist name every time you want to explore a different sound.
I did that several times throughout my career, and every time I basically had to start again from zero. Today, I see that very differently. Your sound is allowed to change. It can evolve over time and still be part of the same artist identity. In fact, I think that evolution can become an important part of your story as an artist.
The second thing would be: never stop learning. Keep educating yourself, not only in music production, but also in marketing, the music business and everything that surrounds being an artist. If you want to build a long-term career, you need to understand the industry you’re working in. And that industry never stops changing, so neither should you.
I also would have started taking marketing much more seriously at an earlier stage. Today that obviously means social media and content, but years ago it could have been websites, flyers, mailing lists or whatever tools were available at the time.
There have always been ways to make yourself visible. Looking back, I probably spent too much time believing that the music itself would eventually do all the talking.
So if I could talk to my younger self, I’d probably say: stick with your identity, allow it to evolve, keep learning, and don’t be afraid to make some noise around what you’re doing.
Treavor:
What is next for Nick Acid?
Nick Acid:
There’s actually quite a lot coming up!
First of all, my next single, “Worldwide Rave Crew,” will be released on October 2nd, and I’m really excited about that one, especially after everything we’ve just talked about regarding the track.
Then, of course, October also means ADE. I’ll be back at Kurai After Dark, this time playing at Club Baggerbeest. Anyone who was at Kurai After Dark last year knows what a special energy that event has. It’s an amazing place to party, but at the same time ADE gives you the opportunity to connect with so many people from across the scene. That combination is something I really love about it.
In November, I’ll be heading to London to play at E1 for the Endless vs. Kurai event alongside Marie Vaunt and others. I’ve already played in the UK this year, but London will still be another first for me, so I’m incredibly excited about that.
There will also be another Nick Acid release on Kurai in November, and that one brings back some “early” influences again. I don’t want to give away too much yet, but I think people who like that side of my sound will enjoy it.
Besides that, I’m currently working on a new EP and two more collaborations. Both collaborations are with female artists, and I’m really excited about both of them, but I’ll keep the names secret for now.
So there’s definitely a lot happening, and I feel like Nick Acid is still evolving. I want to keep pushing the project forward, play more internationally, work with interesting artists and, most importantly, keep making music that excites me. There’s still a lot I want to achieve.
Treavor:
Once again, thank you for your time. We are looking forward to seeing what is in store for the rest of 2026.
The world stage is starting to make sense
Nick Acid is making waves beyond Germany because his music carries something that travels well. The acid language is international. Rave memory is international. The need for tracks that feel powerful, emotional, and unpredictable is not tied to one city or one country.
At the same time, his music still feels rooted. That is the balance many artists struggle to find. If a sound becomes too local, it may not travel. If it becomes too polished for a global audience, it can lose the grit that made it matter. Nick Acid sits in a useful middle ground. The production has enough shine for major systems, but the energy still feels connected to underground rooms.
That is why “Pulverträume,” “Worldwide Rave Crew,” his work with Miss N-Traxx, and his connection to Melow Trax and DJ Gollum all point in the same direction. This is an artist expanding without watering down the core.
The most exciting part is that it still feels early. Nick Acid has already shown the pieces: hard dance force, acid discipline, rave emotion, groove, dark underground pressure, and respect for the classics. Now the question is how far he can push that sound as more listeners discover it.
The answer seems clear enough. If he keeps building tracks that feel like stories instead of loops, and if he keeps treating rave culture as lived experience rather than decoration, Nick Acid will not just ride the current acid wave. He will help define where it goes next.
For anyone who still remembers the first time a rave made the world feel larger, Nick Acid’s music hits a nerve. It brings back that spark without getting stuck in the past. It sounds like a producer who has finally nailed the work he has been chasing for years, and now the rest of the world is catching up.
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