Bookings Worldwide: alex@fckng-serious.de
Reinier Zonneveld's label: @filthonacid

Reinier Zonneveld Bio
When it comes to stadium-sized techno, Dutch tastemaker Reinier Zonneveld reigns supreme. Over the past 13 years, he’s emerged as one of the Netherlands’ most prolific producers, DJs, event organisers, and label founders. He’s become a beacon for a new generation of ravers, drawn to his fast-paced, bruising beats that fuse the sensibility of techno’s past with the cutting-edge sound design of its future.
But there’s more to Reinier Zonneveld than just a leading producer of acid techno. He’s the founder of the acclaimed Filth On Acid record label, who’s ranked #22 in DJ Mag’s Top 100 DJs and previously the highest new entry of the year, a Guinness World Record holder, an Edison Pop Award winner, and one of the most in-demand live acts in electronic music. Regularly performing in venues with over 25,000 visitors, his live shows have become a benchmark for the modern techno experience, powered by classic machines like the Roland 909, 101, and other synthesizers, which he manipulates in real time to create his signature soundscapes.
Reinier’s reputation as a visionary and pioneer extends far beyond his production. He’s the creative force behind the technologically forward-thinking R² Festival, where he became the first artist in the world to perform back-to-back with his own AI, just trained on his own music, enabling him to experiment with wild new technics on stage while he performs on his synths and drum machines. In 2025, he’ll take this groundbreaking concept even further with a 10-hour AI B2B live performance, featuring a holographic version of himself with real-time audio-visual manipulation — redefining what it means to perform live in the age of AI.
Classically trained on piano from the age of three, Reinier studied econometrics and earned two master’s degrees at Erasmus University in Rotterdam, where his devotion to electronic music first took shape. He began releasing minimal, experimental club cuts in the early 2010s — including ‘Vuur’, ‘Flashers’, ‘Find Muck’, and ‘Remember’ before unveiling his debut album, Reverse Psychology (2013).
By 2015, his sound evolved toward the darker, faster side of techno, showcased on Make Me A Promise and Final Judgement, and cemented with his 2016 album Megacity Servant on Stil vor Talent, featuring the hit ‘Things We Might Have Said’ with Cari Golden. His monumental fourth album Heaven Is Mad (For You) pushed him to new heights, featuring some of his biggest tracks to date — including ‘Dance With The Devil (The 6th Gate)’ (16M+ streams) and ‘Move Your Body To The Beat’ (29M+ streams).
Since founding Filth On Acid in 2017, Reinier has continued to shape the global techno scene, consistently holding the #1 position on Beatport’s techno charts and collaborating with artists ranging from Carl Cox, Speedy J, and Angerfist to Armin van Buuren and Oliver Heldens. Now approaching its 200th release, the label remains synonymous with innovation and quality, balancing underground credibility with global reach.
Recognised as one of the most productive producers in the scene, Reinier has amassed over 83 days’ worth of his own released music, a staggering testament to his creative drive and output. He has also played a pivotal role in shaping the sound and tempo of modern techno, being one of the first artists in the scene since to push BPMs beyond 140 to 145 in the second decade of the year 2000, setting a trend that has defined the genre’s energy since 2018.
In a live setting, Zonneveld is renowned for his marathon performances from a 12-hour set at ADE 2019 to the record-breaking 11-hour, 11-minute show at his own Karren Maar Festival in 2023. His technical mastery, fearless experimentation, and relentless energy continue to redefine the limits of what’s possible in live electronic music.
Reinier Zonneveld stands as one of the most forward-thinking and influential figures in contemporary techno — an artist who continually pushes boundaries, challenges convention, and leads the evolution of the global electronic scene.

FLOORPAN "THE MASTER'S PLAN" (CLASSIC MUSIC):
https://cmc.lnk.to/cmcd141d

Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends.

nineminus is following