It must have been around 2003 when the first demo CDs by Deckard were spreading locally. Even his early works may have been good enough to have been released officially on a label. However, Makai let his music ripe step by step. First extracts from his large assortment of tracks found the way to his first vinyl release, a limited stamped white label 12” entitled “Das Abstrakt EP”. This release opened doors for Deckard: not only DeBug Magazine praised the release and gave it the highest rating, it even stated that it is “one of the very rare EPs that can rival early releases by (DJ) Vadim”. Although this statement may not really be fitting regarding the musical style, it still emphasizes the fact that Deckard can easily be named in line with any top producer out of the left field electronica genre.

The „Das Abstrakt EP“ also lead to the fact that Equinox founder Günter Stöppel released the „Noir Desire“ EP the following year, as part of the Equinox 10inch Series. It was the successful beginning of his collaboration with the German label, that is now residing in Berlin. Furthermore, two additional tracks were released in 2005 on the Swiss label Ish Records and their Instrumental Hip-Hop / Electronica / Beat compilation “The Now Factor”.

Afterwards, it temporarily got more quiet around Deckard – his newly started studies as a sound engineer gave him less time to work on music. However, during that period he was able to redefine his style – in more ways than one. Between 2006 and 2008 a couple of new tracks and remixes were released that left marks. For example, he released the breakbeat tune “Dignity Of Men” on the “One Year & A Day” series that later even made it to a DJ Food mix. Furthermore, on this 12” single and the album, he shared space with producers like Free The Robots, 2econd Class Citizen, Brenmar or Deadpan Darling. For the last-mentioned artist project, that exists of Blue Sky Black Death and singer Ceschi, he was additionally invited to remix the song “Laughtrack”. On this track, as well as for rappers like Audio88 or Bushwac, he proved his ability to work with vocals and also to remix songs.

On his “come back” release in 2009, the “Future World” EP, we could finally hear the Deckard, that we can now experience on his LP debut: complex sound layers and spheres, shifting between the rhythms of hauling impulsive machinery and spacy melodies… Yes, this EP was a fascinating outlook on “For A Better Tomorrow”. An album that has become a strong and interweaved work that will keep listeners excited from beginning to end. A thrilling and drifting sound experience from start to finish.

The pathway to “For A Better Tomorrow” may have been an extensive odyssey for Deckard himself - but it has definitely been worth waiting for.