Brizman & Tobi Neumann discuss Adam Bite's collab

A meeting of generations and distinct sonic lineages, ‘That Sound EP’ brings together Brizman, Tobi Neumann and Adam’s Bite for a collaboration rooted in both heritage and forward momentum.

At its core is Tobi Neumann — a longstanding figure within Berlin’s electronic landscape, whose decades of experience behind the decks and in the studio have shaped a refined, dancefloor-focused sensibility. Paired with him is Brizman, a product of Tel Aviv’s underground scene, whose raw, instinctive production style has earned him a growing presence across Berlin’s club circuit.  

Their partnership reflects a natural tension: experience meeting immediacy, precision meeting spontaneity. The result is a stripped-back, groove-led approach that leans into subtlety and control, while still carrying the restless energy of contemporary club music. Across the EP, this dynamic unfolds through rolling percussion, elastic low-end movement and moments of acid-laced intensity, designed with the dancefloor firmly in mind.  

Landing on Swiss imprint Adam’s Bite — a label known for its tightly curated output and focus on nuanced, club-ready electronics — the release sits comfortably within a catalogue that balances minimal, deep and techno-leaning aesthetics. We put some questions to the guys recently to learn more...

Where was most of the EP produced? Did the sessions primarily happen at Tobi’s Apollo Studio Berlin, and how did the studio environment influence the sound of the record?

Tobi: Well, ‘Gated Gong’ was a session originally written and recorded by me at the studio, and Roy did his magic in post-production. It was then finally mixed at Apollo. The other two tracks are based on groove ideas from Roy, then developed further with additional recordings at Apollo, followed by another round of Roy’s work at home, and final production and mixdown at Apollo again.

What did the workflow look like between the two of you in the studio? Was it more of a structured process, or did the tracks emerge from spontaneous jam sessions and experimentation?

Roy: The process flows quite naturally. I usually start by building a groove, and then I bring it to Tobi’s studio, where he adds his musical and modular magic. After that, we take the material back to my studio to work on the arrangement until we’re both happy with it. The final touches and mixdowns are done at Apollo.

Apollo Studio is known for its extensive collection of hardware. Were there any particular pieces of gear or instruments that played a defining role in shaping the EP’s sound?

Tobi: Over the years, my studio has become like an instrument to me. You get to know your equipment and instruments well and usually know immediately which one to use and record for which sound. Over time, this has become a pretty natural and organic process, like a painter using their palette to create their paintings.

The title track ‘That Sound’ features vocals from Tris. How did that collaboration come together, and at what point in the process did you decide the track needed a vocal element?

Tobi: I met Tris through the Spandau20 gang, whom I’ve been friends with for a long time. She’s a part of that lovely group, and I always liked her deep and raw voice and her original NYC slang. So I asked her if she wanted to do a feature for us, and she agreed. We had a fun session with her, and that became ‘That Sound’.

Each track feels quite distinct: ‘That Sound’ is groove-driven and hypnotic, ‘Morning Mayhem’ leans into more frenetic late-night energy, and ‘Gated Gongs’ has a very textural, metallic character. Did you approach each track with a different concept in mind, or did those identities naturally evolve during production?

Roy: I think we both share a deep love for music and have a similar taste. We like to go with the flow and see where the process takes us. There usually aren’t any pre-planned ideas. Once we find certain parts we both like, we start building from there, and the identity of the track naturally evolves during the production.

Brizman’s stripped-down, raw style meets Tobi’s decades of experience shaping house and techno. How did your individual production approaches complement or challenge each other during the sessions?

Tobi: The collaboration went smoothly. And it’s always most interesting when you connect at the intersection of your musical preferences and complete the production together from there.

With the EP arriving on Adam’s Bite, what made the label the right home for this collaboration, and do you see this project as a one-off meeting or the beginning of a longer creative partnership?

Roy: This isn’t my first EP on Adam’s Bite. I previously released a record there with Floog, and I felt this EP could also be a good fit for the label. Tobi liked the idea of sending it to them, so we did — and here we are. We’re currently working on new music together, so there’s definitely more to come. Stay tuned.

Tobi: I know Adrian and Nicholas from the past, where we had already worked together. It was around the time they founded Adam’s Bite. Since then, I’ve always followed them and their releases. They are quite selective, with a certain tasteful, minimal-based style, and I’ve liked and supported their output. When they agreed to release our EP, I was more than happy — and like Roy, I hope it won’t be the last one.

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