Quicche chats R&S debut LP

Few labels carry the weight of R&S Records, a home to pioneering releases from Aphex Twin, James Blake, and Model 500. Now, Quicche steps into this legacy with Frisia, a deeply personal debut album that drifts between indie, electronica, and folk. The record, born out of isolation in Northern Germany, is raw, introspective, and atmospheric—an unfiltered expression of emotion shaped by solitude.

With no prior releases and not even a social media presence, Quicche’s signing to R&S speaks to the label’s fearless approach to discovering new talent. It all started with a simple Instagram message. What followed was a journey of creative trust, allowing Frisia to remain an uncompromising, instinct-driven body of work.

As the album nears release, Quicche reflects on his influences, the freedom of working with R&S, and how Frisia became both a farewell and a fresh start. We caught up with the man behind the music to learn more…

How did the opportunity to release Frisia on R&S Records come about? What drew you to the label, and what does it mean to you to be part of its legacy?

To be honest, it was an Instagram message that got everything rolling, which contained my music and a small text. What I've always loved about R&S is that there was no focus on a particular genre or mood. It seems as if Ren signs the things that fascinate him and that no further criteria are needed, be it a jazz band, a complex IDM project or, as in my case, something between indie, electronica and folk.

R&S has a legendary reputation, having released music from Aphex Twin, James Blake, and Model 500, to name a few. How does it feel to have your debut album sit alongside such iconic records?

This is of course a great honour, especially because many of the artists who released on R&S before me were and still are a great inspiration to me. Nevertheless, it is now time to write my own story, which will hopefully add another chapter to the R&S story.

What has your experience been like working with Renaat Vandepapeliere? He’s known for having a sharp ear and a fearless approach to signing artists. How has his vision influenced you or shaped the release of Frisia?

Since the album was already finished before we met, the collaboration had no direct influence on it. Otherwise, the experience can probably best be described as liberating.

From the outset, I felt a tremendous sense of trust in my artistic vision – I was never talked into anything. And I can also sign up to the fear-free signing strategy. When I got the deal with R&S, I didn't have any music out and didn't even have a social media profile – at the time, Quicche was still an absolute phantom and yet that obviously didn't stop Renaat.

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Do you have any all-time favourite R&S releases? Something that had a big impact on you as an artist? Maybe classics like Joey Beltram’s Energy Flash, Jaydee’s Plastic Dreams, or something more recent?

The answer is perhaps a bit boring, but Xtal by Aphex Twin has influenced me a lot and I keep losing myself in the track over and over again.

R&S has always championed artists who push boundaries. Would you say Frisia continues that tradition? Did the label encourage you to take risks with the album?

I certainly tried to be uncompromising during the production process and hope you can hear that approach – R&S liked it at least.

I believe that crossing boundaries in music cannot be taught, but is a combination of an intrinsic desire to learn new things and the motivation to experiment. Of course, it's nice to know that a label is behind you that gives you every freedom in this regard and is looking for exactly these moments.‍

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Has being on R&S introduced you to any new artists or collaborators that you might work with in the future?

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I believe that at least a few artists have taken notice of me because of R&S, and I have already received some very nice messages. I generally have the feeling that the electronic music scene is very open to collaborations – so let's see what the future holds.

Would you ever consider experimenting with more electronic-driven music in the future, given R&S’s deep roots in techno and experimental sounds?

Absolutely. I'm currently working on my second album, which is already much more electronic than ‘Frisia’. Through my engagement with the history of R&S, I've been able to get to know an extremely large amount of new music, which definitely influences my current work.

Frisia marks a big moment in your career. How does it feel to finally be releasing your debut album?

It's interesting. Most musicians finish working on an album about a year before it comes out. After that, most of the work that goes into it is PR related, and as I said, I'm already working on new songs that are extremely different from ‘Frisia’. I'm really looking forward to finally releasing the album and showing the world what I've been doing for so long. But I'm equally looking forward to writing new songs and releasing them in turn. It's a cycle.

The album was created in total isolation. How did that experience shape the music?

I see Frisia as an extremely introverted album that allows dark, almost desperate thoughts to surface, which can be found in both the lyrics and the sounds. This emotional world was definitely influenced by the experience of isolation.

You’ve described Frisia as deeply personal and raw. Was it difficult to share such vulnerable emotions through your music?

It's absurd, to be honest. You share the deepest feelings, which you probably only tell your closest friends about, suddenly with the whole world.

I block it out completely, otherwise I think I would go crazy.

The title track emerged from a period of self-doubt. What was going through your mind at that time, and how did music help you process it?

I had reached a point where I wasn't sure if I could continue making music. I questioned everything and tried to get used to the idea that all the work and sweat might not have been enough in the end. In a way, ‘Frisia’ was perhaps even a farewell album, which gave me the opportunity to let go of all these thoughts.

For many musicians, creating their own music is an outlet – at least it is for me.

The album blends folk, indie, ambient, electro, and R&B. How did you approach weaving these different genres together?

I don't think there was any real comprehensible approach. At that point in time, I just liked all these different genres and sounds and didn't see any reason to limit myself based on pseudo-fixed rules. The result is simply my personal way of translating these inspirations.

You’ve said Frisia wasn’t written for an audience. Now that it’s about to be released, do you see it differently?

Good question! It's interesting because now that the first singles have been released, I naturally notice how they are received by the audience. Nevertheless, I try not to be influenced too much by the success or failure of the songs and just keep going – otherwise I think you lose yourself and your own identity very quickly. 

With minimal equipment and outside contact, what were the biggest challenges of making Frisia?

I think the biggest challenge was to stay mentally clear. When you spend a month dealing with your own emotions and fears to such an extreme degree, it can be emotionally very exhausting. I went for a walk for almost an hour every day to get some balance.

Was there a particular moment or breakthrough that made you feel the album was coming together?

Not really. Even when I left Frisia, I didn't really know what I had just created. Whether it's an album or demos that end up in some folder. It was only after some time that I realised that it was a self-contained and coherent work, which is perhaps special precisely because it is so fragmentary.

Your vocals play a big role in the album’s emotional depth. How did you experiment with your voice during the recording process?

I often see my vocals more as another instrument. Of course there are very classical production techniques in relation to the voice - but I often get to the point where I expect more or see the very same classical approach as too boring. In such moments I start to manipulate the voice, which certainly makes up a big part of my music.

How did being in Northern Germany influence the sound and mood of the album?

Northern Germany in winter is very surreal. It's very cold, grey and foggy – but it can also be very beautiful. In any case, it creates a very unique atmosphere that contributed greatly to the sound of the album, which is why I named it after the place where it was created.

Without sounding too political, these are interesting times in Germany to say the least. Does music act as an escape for you to the turmoil of what’s happening at all?

Yes, to address it directly, I think what is happening right now is terrible. Especially in Germany, you would think that people have learned from history, and yet over 20% voted for an openly right-wing party – it's a shame.

Music, and especially making music, is always a way for me to escape from it all when it gets too much. But I also think it's important to look at things and not just distract yourself all the time.

Frisia comes out on 11 April 2025. Do you have any special plans to celebrate its release?

I think I'll meet up with a few friends and have a few drinks. I like it best in a small group, so there's no huge party planned.

If you could describe Frisia in three words, what would they be?

introverted, atmospheric, honest

…and finally, if you were to introduce yourself in one track (by you or someone else) what would it be and why?

I love the track Shipyard of La Ceiba by Tim Hecker. The song is so multi-layered and contains so many contrasts. I have the feeling that it is a good reflection of myself in a very abstract way.

Buy/listen to the release here 

Keep up with Quicche on Instagram and Spotify

Keep up with R&S Records on Soundcloud and Bandcamp