We first discovered not even noticed back in 2021 through their ‘Muted Noises’ release on London label Gated Records. They had already been producing for around a year at that point and had a handful of releases under their belt, mostly features on VAs, but ‘Muted Noises’ was a significant leap and really demonstrated the Frankfurt duo’s capabilities in a promising way.
Despite their youthful appearances, not even noticed (Carsten Fluck and Lucas Lejeune) are anything but newbies when it comes to dance music. The pair met at a DJ workshop as teenagers and have been putting hours into the studio since then. They are high-quality producers with a malleable style that slips from acid techno to trance to drum and bass and feels nostalgic and fresh.
Four years on, the pair’s hardened skills as producers are continuing to bear fruit. In 2024, they had a string of powerful releases that rightfully landed on labels such as Craigie Knowles, Holding Hands, and Gimme A Break Records, to name a few. The duo is now getting booked across Europe for their full-throttle, spacey trance offering.
For their //SNCMIX, not even noticed share a cool collection of deep and dubby soundscapes and give us an insight into their history.
How did the two of you meet?
We first met at a DJ workshop in Frankfurt when we were 13 or 14 and immediately connected over music and production. However, we lost touch until our paths randomly crossed in a small Croatian village about two years later. After sharing our latest work with each other, we decided to get into the studio (Lucas’ bedroom) as soon as we returned to Frankfurt. A few sessions later, we decided to start a project together—and have been best friends ever since.
What were some of influences growing up?
One of the main influences—and the initial impulse for us to start producing—was the movie Berlin Calling, starring Paul Kalkbrenner. Later, the Frankfurt scene had a huge impact on us, with artists like Roman Flügel and the legendary Robert Johnson shaping our musical taste. Beyond that, we started exploring artists like Daniel Avery, Steffi, and Shed early on and remain big fans of their work to this day.
What made you decide to become artists?
There was never a specific moment that we decided to become artists—it sort of happened naturally through experimenting with sounds and working on our first projects. However, the moment we met and decided to start our first alias was also when we began investing more time and taking things more seriously. Although we initially saw it more as a hobby, it was always important for us to evolve and strive for the best results, both musically and in terms of technical and visual aspects.
How did you develop your sound?
We’re always looking for new inspirations while staying true to the things we know and love, trying to combine both. One important aspect for us is not limiting ourselves to a specific sound or genre, but allowing ourselves the freedom to explore whatever feels right in the moment. It’s not uncommon for us to produce tracks that we later decide not to release because they don’t align with our vision for not even noticed. Still, it’s a constructive way for us to learn about other genres and their key elements, which we can incorporate into future productions.
What artists, labels or scenes are responsible for not even noticed?
When we decided to start this new project, Bridging Mechanics by Pépe just got out and was on heavy rotation as we loved the playfulness and creativity involved in that jam. Later on, artists like Kessler, Joy Orbison or Sansibar impressed us a lot. Label wise, we love the releases on Warp, XL Recordings and Phantasy Sound and are besides that glad to say that we released on Craigie Knowles and Holding Hands – two labels that had a big influence on our sound in the recent years!
What’s your dream club/festival that you have to play?
Club-wise, our dream came true last year when we had the chance to play at Robert Johnson—a long-time goal of ours, as it had a huge impact on our musical socialization.
As for festivals, we love attending Dekmantel and Dimensions. Both are very different but outstanding in their own way so playing at one of them would be big for us!
Tell us about your mix for //SNCMAG
We really enjoyed recording this one as it represents what we’re currently into the most. Driven by deep and dubby soundscapes with a nearly hypnotic feel, these are some of the tracks that got us through the winter. We’d love to experience this kind of sound on a bigger system as clubbers at some point.
What are some things that inspire you outside of music?
Inspiration, for us, is something that often works on a subconscious level. It’s not just about one specific thing but rather the sum of everything we experience in our daily lives. The books we read, the conversations we have, the places we visit—even the fleeting moments we barely notice, like the rhythm of rain on a window or the way light filters through the trees—all of these leave subtle impressions.
What’s next for not even noticed?
As we had a busy start to the year musically with two EPs and some VA tracks, we’re taking things a bit slower until April/May. That’s when we’ll be releasing a spherical, downbeat-driven EP that feels quite personal to both of us, as it has been with us for the past two years and took some time to shape into what we envisioned sound-wise.
Besides that, we can’t wait to be back in the UK in March and April to play in Glasgow and Manchester!
Tracklist //
K-Lone – Brake Root
mpeg – Slot 16
Reflex Blue – Low End Freqz (Dial Up Mix)
Jamahr – Showtime (Aerofunk Remix)
Priori – Weight
Shoal – Morning Float
Satoshi Tomiie – Proody-106
Cousin – Muster
Arkajo – Sagan
Octoptic – MRV Dub
96 Back & Martyn Bootyspoon – Thicc!
Kincaid – Rack (Jay Duncan Remix)
Pizzaboy – No Affection
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