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Interview With Glass Code / Hyperfocus Founder

Updated: May 1, 2023


Recently I got to talk to Glass Code, or as I know him, SINKORSWIM (design moniker) about his exciting up-and-coming techno label being born out of Scotland. This label already has a worldwide roster of artists, who are much more than well versed in this scene and definitely deserve your attention.


So first things first - you’re starting this new label called Hyperfocus. I was wondering if you could give me some background on where the name came from?

Hyperfocus. has a few meanings for me. Firstly, there is the literal — the state of hyperfocus which is achieved through intense focus on a subject with no awareness of the passage of time and being free from distraction. This state of mind is responsible for my best work, both as a graphic designer and as a producer. I guess you might call this my flow state.


Within the world of techno, there are many niche sub genres and Hyperfocus. aims to cater for a more hypnotic sound, so in this sense the name refers to being in a state of hypnosis when listening to the records. It also acts as a seal of approval - particularly the attention to detail. All the forthcoming records have been carefully selected with very clean mix-downs and mastering to finish them. Overall it speaks to the volume of work that has went in to ensure that Hyperfocus. always delivers a quality product.




You can check them out on Bandcamp at Hyperfocus.


So what made you want to start a label anyway?

Tough question. I guess I never really found a home for my music with other labels. My records don’t stylistically fit into one neat box and I don’t want to put myself in a tight niche that would limit my creativity and expression. I have a circle of producers and DJs around me that feel the same and it’s a difficult thing to navigate in our scene.


The existing labels which I admire are hard to access for people on the outside. Whilst this is frustrating, I have learned that labels need to have these standards because this is what ensures consistency and quality which are key factors for running a successful label. This realisation made it apparent to me that I had to create my own community of producers and my own label, giving a home to our music.


Is there a niche audience for your label and if so who would they already be listening to? Who’s the target audience?

Absolutely. The current techno scene is saturated with ‘hard’ techno. This isn’t a bad thing, but I feel the real spirit of techno has been lost a little. My intention is to bring back the foundations of techno music, particularly it’s history in Berlin.


I have such a deep love of music from this time. The 90s and 00s really were the golden years for the techno scene and I hope to keep this energy alive. I suspect that fans of the Hyperfocus. label will likely be enthusiasts like myself who care about good sound design, high-quality mix-downs and hypnotic grooves to get lost in.


The target audience would enjoy labels such as Ostgut Ton, Tresor and Hayes, to name a few. What I would call ‘proper’ techno — ruthless, 909, drum-heavy techno with limited melodic elements and some experimental records thrown in for good measure.


So with that said, have you got any releases coming up and what can we expect to see?

Yes. The next release on the label will be HYP002 by Anton Ziter, an artist I know from Thessaloniki, Greece. This EP will be monumental for the label.


The sound embodies everything the label stands for. You’ll know what I mean when you hear it. I’m very excited about this one. Later in the year we have more releases scheduled with artists from across the globe (more on that later). I will also release the next Glass Code EP on Hyperfocus. (probably late summer).


Have you made music before?

I started learning to produce around 5/6 years ago and have been doing so ever since. I guess you could say my turning point was when I moved to Berlin. At that point I was deeply connected to the scene and my production skills went from hobby standard to professional.



I personally believe the journey and learning never ends for production but I can safely say I improved a lot after that switch of focus in Berlin. I think the key to being a good producer is getting over the hurdle of learning the basics of mix-downs, arrangement and just having a good ear (this comes with time). After that, music production (to me) is a series of experiments, some of which you release as records.


Do you feel like the experience you’ve had making your own music and designs puts you in a good position for Hyperfocus?

Without a doubt. The combination of my production and graphic design skills cover two of the biggest fundamentals for running a label in 2022. I think that making good records isn’t enough any more, despite music being the focus. Branding and appropriate design can make or break a label now and I spent the last two years preparing these elements for Hyperfocus. You might think with an untrained eye that our branding is basic, but minimal design is some of the most difficult to execute. When ‘less is more’ you have to make sure the less is perfect…

Finally, can you tell us what is in the works at all?

For now, the focus is to grow the label and the brand of Hyperfocus. The current release schedule takes us to around September time. Once the label has grown organically I would like to bring the artists together and prepare a VA to round off the year. At the moment Hyperfocus. is a digital-only label but I hope to release this particular VA on vinyl. Long term, you might see some Hyperfocus. showcases at clubs across Europe. The artists I have at my side have a lot to offer and you’ll soon learn their names.




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