Spoontech is, to me, one of the most intriguing mysteries in our scene. Despite having contributed immensely to the genre, it has somehow remained one of the most underground labels that ever existed. Yet, in recent years, the label has finally experienced some well-deserved growth. Artists from Spoontech are now more frequently featured at major festivals, performing well on streaming platforms, and even selling out their own events.
Founded in 2010 by Australian producers Stewart Edwards and Ryan Biggs, Spoontech was born out of big dreams and an even bigger desire to leave a mark on the harder styles. I’m certain that when they started, couldn’t have predicted just how unique – and at times misunderstood – their creation would become.
Since the early days, the label has focused on the more extreme edge of Hardstyle, with releases featuring deep, gated kicks and dark atmospheres, but also funky, quirky and out of the box elements. They’ve consistently delivered high-quality tracks, staying true to the roots of original Hardstyle that was released more than 20 years ago, while simultaneously pushing the boundaries. Despite their serious dedication to the music, the label has always maintained a light-hearted approach, and managed to not take themselves “all that seriously” (an approach that, in my humble opinion, is a winning one), and reference spoons in their name because “everybody owns and can relate to spoons”
Throughout its history, the label has been home to notable artists such as Regain, Warface, Rooler, The Purge and obviously, Delete.
So… Why didn’t it take off? I think there are a few key reasons.
First and foremost, Spoontech has always been a label with a very specific sound, perhaps catering to a niche within a genre that is already relatively small. This kind of extreme Hardstyle has never been everyone’s cup of tea, especially during Spoontech’s early years when melodic Hardstyle reigned supreme. Their status didn’t change much later on, when the ‘raw’ Hardstyle movement gained momentum around 2012/13, which saw more approachable raw acts rise, from labels such as Fusion and A2 Records.
Second, geography played a role. While being based in Australia doesn’t seem a problem at all, unfortunately the status quo of the scene dictates that not being dutch, or based in the Netherlands, is enough of a condition to highly limit one’s opportunities for greater exposure and success.
This leads us to the fact that there were considerable management changes on the label and its booking agency well into it’s existance, with the whole structure eventually relocating to Europe in the late 2010’s. Restructuring is always hard, even if the result is overwhelmingly positive, and this has resulted in a time where we could almost say the label was somewhat dragging their feet, which resulted in a perceived lack of activity that foresighted the label’s end. This was more or less accompanied by a considerable exodus of artists from the label, or with gradual inactivity from artists that have been renowned ‘Spoontechnicians’ through the label’s history.
Finally, the Hardstyle scene has also undergone significant changes in recent years, propelled by the diminishing relevancy of labels like Fusion – labels aren’t as relevant as they used to be anymore. The days of label-centric events like X-Qlusive and Scantraxx SWAT tours are long gone… The “cult” of labels has ended, and those that relied heavily on their community support have struggled to attract newer audiences.
As a result, Spoontech has never received the full recognition it deserves. The truth is, if you ask many established ‘raw’ producers today, they’ll likely tell you how much they’ve been influenced by Delete. And there are many kids nowadays starting their journey as producers that look up to people like The Purge and Rooler, who fill up stages at major events worldwide.
Unbeknownst to many, Spoontech has quietly shaped the genre we know today. They’ve heavily inspired some of the most renowned raw Hardstyle producers and launched the careers of others who have achieved varying levels of success. Their distinctive sound is the common thread running through it all. It’s a shame that they haven’t been more prominent in the scene, as they truly deserve to be.
However, it’s not all doom and gloom – Spoontech’s journey has impressive, considering the challenges they faced. In recent years, they’ve hosted stages at major events like Qapital and Q-Base and have had a significant presence at Defqon.1, with their artists performing both individually and as the Spoontechnicians (and I mentioned solely Q-dance events purposefully – it’s no small feat to perform at Q-dance events, especially without being part of ID&T’s agencies).
In addition to that, Spoontech recently held an event of their own, called Spoontech Society, an event at a venue with a 4,000-person capacity, and nearly sold it out. This event was a great success, with overwhelmingly positive feedback across social media.
I truly hope we see more Spoontech hostings this upcoming summer. A label with such a rich legacy and unique sound deserves a more prominent place in the scene!
