Influences: Christoph Faust on Berlin, Berghain and the Sounds Behind ‘The Window Upstairs’ EP
- 11 hours ago
- 5 min read
Berlin-born, Kyiv-based DJ and producer Christoph Faust returns to SEVEN with his latest EP, ‘The Window Upstairs’. It marks a defining moment for an artist whose identity remains closely tied to Berlin’s club culture while evolving through new personal and geographic chapters. Buy/Stream it here: https://seven.berlin/product/seven7008.
The EP captures the emotional and rhythmic duality that has come to define Faust’s sound. ‘Keep It Up’ opens with elastic drums and playful vocal chops designed for peak-time lift, while the title track channels the soft, dub-soaked nostalgia of early mornings at Panorama Bar. On the flip, ‘Don’t Stop’ leans into stripped, tribal percussion before BLANKA reshapes it into a hypnotic after-hours drift. Closing cut ‘A Voicemail’ reveals a more intimate side, while Lydia Eisenblätter pushes the digital version into progressive territory rooted in 90s analogue textures.
Faust’s journey began in Berlin’s underground ecosystem, shaped by formative nights at Tresor and the world-defining presence of Berghain. These spaces weren’t just venues. They became classrooms, creative laboratories, and lifelong reference points.
Now, with over 17 years in electronic music and a role as booker at Kyiv’s K41, Faust reflects on the tracks that helped define his approach to sound, emotion and restraint.
Steffi & Virginia - Yours
"I remember hearing this track for the first time at Panorama Bar - of course. It was a beautiful, sunny Sunday afternoon, probably around four or five. The late sun was pouring into the room, that soft golden light that only happens there, and everything felt suspended for a moment. When the track came on, it didn’t feel like that cheesy kind of house music at all. And that’s important to me, because today I truly love house - but very much in my own way. When I first got into electronic music, about seventeen years ago, I was actually quite distant from house. I was surrounded by a lot of cheap, uninspired tech house back then, and it honestly pushed me away from the genre. I simply didn’t yet understand what house music could really be. Years later, during my regular dances at this club, this track appeared - and it hit differently. The power of the chords alone was overwhelming. And then Virginia’s voice came in. Those lyrics. That moment. Pure magic. It’s a timeless classic. One I still love to play, still love to listen to - even today. And whenever I feel stuck creatively, I return to tracks like this. They remind me why I started, what I’m chasing, and what I truly want to do."
Prince Of Denmark - tool 517
"I discovered Prince of Denmark through my friend Madeleine. She’s the graphic designer behind much of my work - and in my opinion, one of the most outstanding artists in her craft. Still wildly undiscovered. She was also the person who introduced me to the sound of Prince of Denmark. One of the most mysterious names out there - and without question, one of the most influential for what I’m doing today. It’s almost impossible to pick a single track. Whether it’s Traumprinz, Prince of Denmark, or any of his countless other aliases - everything he touches feels deeply considered, emotional, and timeless. It’s truly beautiful work. I honestly can’t imagine my music today without his influence."
Marcel Dettmann - Kernel
"Marcel Dettmann, much like Ben Klock, stands among my biggest inspirations. I could easily place the complete works of both artists at the very core of what shaped my sound. Interestingly, Marcel followed my journey from a very early stage, even before I consciously discovered his music myself, which happened a few years after I had already started producing. To this day, I remain deeply fascinated by his work. His approach is unmistakable: using unconventional sounds to build rhythm and melody, assembling them in a way that feels raw yet incredibly beautiful. There’s a tension, a restraint, and a clarity in his music that I haven’t found anywhere else. For me, Marcel Dettmann has a truly singular style - one of a kind. Knowing that my work has been influenced by such a brilliant and uncompromising artist is something I’m genuinely grateful for."
Mathew Johnson - Marionette
"When I discovered this track for the first time, I remember it was also - of course - in the one and only Berghain, because that was the place where I used to go every weekend without any excuse. I had to. It was my university of music and partying and DJing and everything. In one of those super-long closing sets, I discovered this track for the first time, and I remember it was in the morning hours. For me, this track always represented the unique way you can use melodies in a very complex form, but make them feel very simple together. If you listen to this track, it has a maximum of six, seven, maybe eight elements - but really six main core elements. It’s amazing how they fit together. It definitely taught me the way of minimalism in production: not to overload my projects, and that it’s always about the idea and the creativity, not about technical skills."
Martyn feat. Spaceape - Is this insanity (Ben Klock Remix)
"I remember this track was shown to me for the first time by my mum’s ex-girlfriend. She was the one who introduced me, for the first time, to the name Berghain and everything around it - like Ostgut Ton, and some of the artists. She gave me a few names to check out. And the first track I checked out - also important to remember - is that at that time I was already an active DJ and was fully in love with Tresor, and for me, Tresor was always number one. But then she showed me this one, and I was shocked because I had never heard something like it before. The way it’s produced, the way it sounds - so powerful, mysterious, but also beautiful, beautifully designed at the same time. Later on, it also became one of the first tracks that truly changed me on the dancefloor when I visited Berghain for the first couple of times, and finally got to hear this track inside of those walls. It was definitely a life-changing moment, and it’s still inspiring me to this day - the beauty and the beast of this track."
Christoph Faust’s influences trace a clear line through Berlin’s most defining institutions, but they reveal something deeper than geography alone. They reflect a philosophy shaped by patience, emotion and lived experience on the dancefloor.
His connection to Berghain and Tresor formed the foundation, but it’s the emotional clarity of artists like Marcel Dettmann, Prince Of Denmark and Mathew Johnson that continues to guide his work today. You can hear it throughout ‘The Window Upstairs’. Not in obvious references, but in the restraint, the tension and the quiet emotional weight carried within each groove.
As Faust continues building his path between Berlin and Kyiv, these influences remain embedded in his creative DNA. They remind you that electronic music isn’t just about sound design or technical precision. It’s about moments. Atmosphere. Connection.
And sometimes, it all begins with a single track heard at exactly the right time, in exactly the right place.
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