Woktrax – Cover Feature – Issue 049 –

Words By Kali

Woktrax: vinyl roots, Belgian grit and a second act built on acid

He started DJing in 1994 on second-hand decks, worked clubs through the late ’90s/early 2000s, then life pulled him away. After a decade-plus hiatus, Peter Wok returned as Woktrax—lean, percussive techno with acid fingerprints and the occasional quieter detour. Today his catalogue spans imprints like Dark Distorted Signals and FenixFire Records (both steered by Willem Voet), alongside labels such as Blanc Stone Digital, Hot Peppers Raw, Bunk3r R3cords, Alpha Gem and Ibiza Boys. We catch him mid-momentum to connect the dots between 1994, the break, and what’s next.

You bought your first second-hand turntables in 1994. What was the spark—an artist, a club, a record—that convinced teenage you this was the path?

For sure, it was Cherry Moon in Lokeren—that sound and atmosphere: techno, acid, trance. I loved it. Such a dark place! That combination of energy and darkness hooked me immediately and made the direction feel inevitable.

Paint us a picture of late-’90s / early-2000s Belgium.

I played local venues in those styles, and when I finally got to play at Cherry Moon I was happy as a child. I played as DJ Stefan. We had great clubs in Belgium back then, each with its own atmosphere—but I liked the harder places best. That period shaped my taste for intensity and taught me to read rooms built for pressure.

You stepped away around 2003. Why?

It taught me I couldn’t live without music. My head was always full of ideas—they had to come out sometime. I had sold all my gear, so I had to start from zero again. I also learned that health and stability are the most important things in life. When negative memories resurface, I make my darkest tracks. That reset made me more focused and grateful every time I switch the studio on.

Returning after 10+ years, you came back as Peter Wok and Woktrax. How do you divide those alter egos?

Peter Wok is the easier fella in my head—he’s mostly asleep—while Woktrax is banging the drums. It depends on my mood. Sometimes those two are even friends and get along. It’s really two doors into the same house, and I choose the one that fits the day.

Your bio mentions mostly techno and acid, but also calmer pieces. What do those quieter tracks unlock for you?

It’s all one big mental game—I’ll never figure that one out! Those calmer moments balance the heavier side and keep the creativity moving.

What’s the current studio setup—DAW, go-to instruments and plugs?

Cubase, still—plus an army of VST synths and plugins. The DAW Classics/Boxes bundles and Rob Papen synths are favourites. I stick with what lets me work fast and translate ideas without friction.

You kept most of your vinyl through the hiatus. Do those records still guide your writing? Any specific inspirations?

Those records are the basis of everything. They all left a mark, but Emmanuel Top and Zolex have always been big inspirations. Being able to work with Zolex and make some tracks together was a dream come true. That old-school DNA still whispers in the studio every day.

You’ve released on many labels. How do you choose the right home for each track?

Honestly—100% coincidence, I guess. Sometimes the right door opens at the right time and the music just finds its place.

About your relationship with Willem Voet—what have you learned from working with him on D.D.S. and FenixFire?

Willem is a nice guy with a big heart for underground music. The biggest thing I’ve learned is that some people still truly believe in it. He runs the labels like a friend. That trust makes it easier to push ideas and stay authentic.

In your words, what’s the aesthetic difference between Dark Distorted Signals and FenixFire Records?

One is more techno, the other leans new beat/EBM. I’d even say a lot of it comes down to BPM. Each label brings out a different flavour of my sound, and I enjoy that split.

Some of your tracks are raw and hard; others are more melodic or lower-BPM. As a DJ, how do you make that range speak the same language in a set?

It depends on the crowd. I read the energy and connect the dots so the journey still feels coherent.

Beyond “make them dance,” what’s the intention when you’re back in the booth as Woktrax?

Just to make them dance! Of course I test new work in my sets, but I don’t like to think too much when I’m behind the booth—just go with the flow. That spontaneity keeps things alive for me and for the floor.

“Peter Wok, the Peter Pan of Techno!” Where do you still refuse to grow up—and where did you deliberately mature?

I still refuse to grow up. In my mind I’m 21—though not in real life, of course. I also have my daytime job. Staying playful helps me keep the spark, while real life keeps me grounded.

Tell us about one track that nearly didn’t make it—what changed your mind?

Probably all of them. Sometimes you just have to say “done.” Letting go is part of finishing and moving forward.

You restarted in a new ecosystem—digital distribution, playlists, social media. What empowers you, and what do you ignore?

It’s a lot easier to make and release music nowadays, but the scene is turning into one big circus—that’s the sad part. I focus on the work and try not to get lost in the noise.

Collaboration wishlist—past or present. Who would you love to lock in the studio with for a few weeks?

That’s a tough one. Can I consider a few weeks? Maybe Regi. It would be fun to see what comes out of that mix of worlds.

What’s next—release radar for Woktrax and Peter Wok?

Peter Wok is asleep for now—but Woktrax has two new releases on ODS: one is “Wormhole,” and one is a collab with the legendary Fatal Error. There are also a few releases on Zolex Records and one big surprise—but that’s still a secret. And I have some unfinished work that needs fine-tuning before I send it out. The pipeline is active—I’m excited to share more soon.

Finally, advice for a young Belgian artist stepping into techno today?

Do your own thing. Find your way. And forget about the money—if you’re in it for the juice, you’d better change your game. Staying true is the only path that lasts.