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Featured Release: ‘Neptun’ by Jan Hertz & Rocko Garoni

A little taster of Jan Hertz & Rocko Garoni’s upcoming Sisyphon EP titled ‘Neptun’, featuring remixes by Schlepp Geist, Exercise One and Moog Conspiracy - out on March 30th!

Launchpad: Sender Freies Butzke

Good news, Berlin! Sender Freies Butzke launches this saturday and when you have Maeve man Baikal, Denis Horvat, live act Johannes Brecht and legendary Basque boy El_Txef_A all under one roof you know: this one's for the real lovers of quality Techno, House and everything in between.

Even better news: Sender Freies Butzke is here to stay, spreading the love every second saturday with artists from Ritter Butzke's inhouse label Ritter Butzke Studios, international heavy weights and fresh discoveries including Shlomi Aber, Eelke Kleijn, David Dorad, Barnt, Steffen Bennemann, Erdbeerschnitzel, HVOB, Stimming and many more. Btw: those who can't be there and still want to live up at home can tune in live on pure fm.

Need guest list for saturday? This way!

Launchpad: Modulate

No bullshit, just quality - the new unspoken credo at Arena Club resulted in this year’s most unreal comeback, literally happening within weeks rather than months. So, there’s lots of new stuff happening in the old brickstone walls by the river. Yet among all the lovely parties, one of them stands out and may very well be the most exciting monthly series of the lot.

Modulate is a party made for all those who firmly believe in the mind altering power of Techno, for all those who seek comfort in musical truth. Modulate is meant to be your shelter, where you let go and simply trust the music. And trust us, the launch party this saturday means business!

You would be tempted to think that up and coming Techno duo Parasol and the boss of the infamous Gerberei club, Ron Albrecht already make for a brilliant launch event. But a special party always comes with a special touch, ultimately defining the soul of a series. This time that special touch will be laid down by no others than Illian Tape’s very own Zenker Brothers, already elevating Modulate to become a shiny new gem in the city’s cluttered nightlife schedule.

Wanna go? We got guestist for you!

Launchpad: Oscillate

“The synthesizer and it’s heart, the oscillator, is the device that made it possible to hear things that had never been heard before. Tools like this in the hands of electronic music pioneers is what we want to celebrate.”

After many years of organising parties in Berlin, Mato and Thomas have decided to do away with compromises and instead place their uncompromising love for electronic music at the heart of their new project: Oscillate. An hommage to the protagonists and the tools they first used to produce Techno and House, the event series' ethos is simple: "nothing but quality music". The plan is not only to encourage reflection on the genres' roots and current interpretations, but especially to establish a meaningful connection between artist and audience. For this endeavour Mato and Thomas have chosen ://about blank to be their new home. For them it's just the right blend of community spirit, DIY attitude, musical appreciation and warm subculture vibes. Mind you, all these features are not just concepts written on paper. Oscillate already has its own podcast series, beautiful homemade designs and also a magazine way before the very first party takes place this weekend.

Needless to say we're stoked to see the first of many instalments hit ://about blank this saturday (29.11) with Benjamin Damage, Kate Miller, Lawrence, Milton Bradley, Parasol, Reznik and Moon Wheel on the 1s and 2s. We're giving away 2x2 spots on the guestlist. See you there!

Sierra Sam talks analogue gear

From House to Techno to Electronica: after 15 years of nurturing his love for electronic music, Sierra Sam has grown to become a master in the art of analogue machines. His latest EP out on Holic Trax is only one of countless brilliant examples.

But we thought the time ripe to find out what gear the Belgian born live virtuoso actually loves to use. Check out Sierra Sam's top 5 studio essentials below.

Roland MC 202

"For me it is the perfect bass machine. It's between a SH101 and a TB303, but for me it is more a 101 without keyboard (and noise). I use it a lot when I need those classic bubbly basslines or some acid sounds without being too 303ish."

Ensoniq ASR10

"The ultimate sampler (alongside the MPC 1000). It's great to process samples through the onboard effect, similar to a DP2. It can sample through effects and resample its own sounds through effects again. It is extremely easy and powerful, with a great filter as well. I use it to resample drums or synths and give them another flavour or extra punch when needed."

Pro One + MFB Urzwerg

"Sequential Circuits is one of my very favourite brands, this Pro One is a one voice Prophet 5. It has a very fast envelope, which can generate very percussive sounds or really fat basslines. I use it with the MFB sequencer to add some extra sequences to tracks, or to start with a special percussive loop."

Dave Smith Pro 2

"I wanted to have some more "modern" sounds, so i decided I would buy the new Dave Smith. I am happy with it so far (just got it), it is great for deep sounds, the sequencer is very interesting and the paraphonic mode sounds very interesting. It has a very wide range of sounds, fat sounds when needed, but also very profound and thin."

Akai MPC 1000

"I had them all, 60, 3000, 2000, 2000xl, but I kept this one. I love the sequencer, I love the sampler, it is an instant machine to make grooves. This one has an internal HD so I can load lots of programs in a second and start jamming. When I have no idea and want to start a track, this is the way to go."

Check out what it sounds like when Sierra Sam brings all of these beauties together with his exclusive mix for the Beatguide podcast series featuring loads of unreleased tracks!

Happy Birthday, Steve Rachmad!

For 30 years Steve Rachmad has been a leading figure in electronic music, driving and shaping the genre both in the Netherlands and around the world. But even for him as a veteran there are still places left to be discovered. Just before his big birthday bash in Studio 80 we met the Dutch Techno legend to talk about his alter ego STERAC, timeless gems, Star Wars and his upcoming performance at Time Warp Utrecht.

Hey Steve, thanks so much for taking the time! I couldn’t help but notice you wearing a ring that bears the symbol of the rebel forces in Star Wars. I take it you’re a big fan then?

Yes, I'm a big fan since the day the first episode came out in 1977. I'm not a super geek, but I always have something Star Wars with me. Next to the ring I have Darth Vader breathing when someone phones me and my sms tone is R2D2.

So what else do you do when you’re not making music or watching Star Wars?

Lately because of so much traveling for gigs, I'm happy when I get to be home and be in the studio as much a possible. So I basically do spend a lot of time on music although it might be my free time. Next to that I like to sit in front the TV with Manuela, my girlfriend and watch TV series. Also that is rare due to traveling a lot, so whenever we can, we are super happy on the sofa. I always try to play video games, but never get to it because of lack of time. Now I'm very much looking forward for Star Wars Battlefront III to be released soon as a big Star Wars fan. What we do make time for regularly is having good food in some favourite as well as new restaurants, in Amsterdam, or wherever we are. This is standard on our agenda, no matter how busy we are.

It’s your birthday today and we hear the celebration at Studio 80 is going to be quite the spectacle. What have you got planned for us?

I run my residency kis. (keep it simple.) every four months in Studio 80, and we have been welcoming a wide variety of artists for this, it’s all about musical freedom really. My birthday edition has in the meantime become somewhat of a tradition, too. We have had some magnificent guests like Ricardo Villalobos, Josh Wink, Joel Mull or Kollektive Turmstrasse over the past years, and this year we have another very special treat. Mathew Jonson has been someone I have been following and respecting as an artist for a really long time, and his Cobblestone Jazz project is nothing short of the same magnificence that his music is so rich with. To bring such a great live act into such a cozy club setting is of course very special as such. Next to Cobblestone, we also have a line of quality Dutch artists on the bill: Interstellar Funk, Aroy Dee and Marsel Delsin, and of course I will be playing an extended set too. I am sure there will be more to it, but this is one of those nights that are partly kept secret from me by Studio 80 and my crew. All in all, I am sure it will be a big birthday celebration.

You’ve been djing for 30 years now. Is there a place left in the world that you still haven’t got around to play in?

Yes, crazily enough, I have still never played in Canada, but my agent is working on that now. In South America I only played in Brazil so far. I never played Central America either. In Europe, places like Bulgaria, Romania still didn’t happen for me. In Asia, I never played Singapore, Malaysia and South Korea. Africa is a totally untouched continent for me so far, too. So, for sure still a lot of new places to discover!

Talking about places, at the end of this year the legendary Amsterdam club Trouw will close down, leaving a big gap not only in the Dutch but also in the global dance music community. If you were to guess, how long will it take until the next Trouw comes along to fill that gap?

I am not sure to be honest, there are many warehouse type events these days, but we will miss greatly such a club as Trouw has been. There are rumors that some sort of "next Trouw" would happen, but I cannot tell when and in what shape.

Over the last three decades you were one of the key figures to establish and define techno as a culture in the Netherlands. Looking back, is it as much fun today as it was in the beginning? What do you miss most about the good ol’ days?

For years it's been actually more fun because of all the changes that happened years ago with the coming of the new "minimal". It got more diverse for me and I consider that more fun because I like variety in things; not having to do the same all the time musically. Nowadays I get to play anything from housey sets to dark techno sets, and even disco sets here and there. The only thing that I really miss is the time in the studio because I have less time nowadays than back in the days. Due to travelling and gigs, I do work on the road on my laptop, but I miss my machines and the experimenting in the studio.

Today, many people are worried that EDM destroys electronic music and the culture it stands for. How do you see the state of the genre today? Is your legacy really in danger?

I think it should be more about the music. It seems it's all turning more into a business way of looking at things. What or who's trendy, how many Facebook likes does one have, how high can the DJ put his hands up in the air, bla bla bla. I don't have the feeling it's in danger but I'm not sure how healthy it is, if bigger organisations keep on buying well running organisations to form a big alliance. Feels like everything is more about money and power instead of music and having a nice time.

In ‘95 you created a timeless techno classic with Secret Life Of Machines under your pseudonym STERAC. The album was also rereleased in 2012 with prominent remixes by the likes of Joris Voorn and Marc Romboy. Is it your aim to create music that survives the decades?

It's an absolute goal for me to mostly produce music as timeless as possible. I think it's just nice to be able to play a record at any time without having to put a timeframe on it or that it's limited because of time.

Recently you’ve also started to tour as STERAC for the very first time with selected shows around the globe. What inspired you to finally do this?

It is mostly to avoid confusion. People have different tastes and wishes. Not everyone is into darker more serious techno and not everyone likes my more housey side. And as a big music lover I could never settle with just one style. There is just simply too much great music out there to limit myself. This way an organizer knows what he can expect by choosing which side of me he wants to book. Next to that it's also handy for me to know what I'm getting into approximately, although I always leave space for the unexpected to happen on the night of course.

STERAC will also make an appearance in Utrecht on December 6th for Time Warp’s 20th anniversary tour. Do you remember the first time you played at Time Warp? What makes this rave special for you?

Yes, that was the time they were able to do it in Amsterdam. And I highly remember it because for a big rave it didn't really feel like a big rave. For such a big party it still had this nice club feel to it, which I really liked about. Nice decoration and warm atmosphere and still a big party!

Just a few months ago you released a powerful 4 track EP on Klockworks, including the brilliantly fluid ‘Rotary’. What else have you got in the pipeline this year?

There is a STERAC release coming up on Delsin Records beginning of December, with remixes by Mike Dehnert, VRIL and Anthony Parasole & Phil Moffa; also my STERAC remix of a PVNV’s track is coming out on the French label Taapion in a week. I am just finishing a remix for Rebekah on CLR as well as for the Dutch label Indigo Aera. Besides that I’m working on a Steve Rachmad remix of Yotam Avni for Josh Wink’s Ovum label and I’m trying to finish some EPs in the Steve Rachmad style too. Other remixes in the pipeline are for Christian Smith on Tronic as well as a remix for Italoboyz!

Thanks for sharing and a happy birthday to you, Steve!

Don't have tickets for Time Warp yet? Grab 'em here.

Happy Birthday, Room With A View!

"At one point, I simply felt it was time to express a very personal vision through my own record label. I created a virtual room that allowed me to share different musical perspectives with like minded people and leave space for their own imagination and interpretation".

In 2009 Dairmount founded Room With A View and now 5 years later the label is one hot imprint to watch, with releases celebrated worldwide by underground heroes and living legends alike. We sat down with Phil to talk about how it all came to be, the philosophy of RWAV and what he’s got planned for the big birthday bash at Prince Charles this friday.

5 years is half a decade of existence, Phil. When and how did you decide to start the label?

Yes indeed, I'm overwhelmed to the idea that we have been around already for 5 years. Especially as so much energy and dedication has been put into the project over the years. In the last 20 years, I’ve helped lots of people to get their musical message out there by playing their music in my DJ sets, in radio shows but also by organising parties, being editor of a musical magazine, selling music in record stores or later working in music distribution. My only goal in all this was to create bridges between people living in different places and countries who share a common musical spirit and feel. It took me nearly two decades to explore every possible part of the chain, but every part was totally worth it. A lot of the people like Sasse, Jimpster, Atjazz or Mad Mats, whom I connected to on the way and that I helped at one moment or another were always suggesting me to do my own label and after a while I felt ready to listen to them.

It all began in Hamburg in 2009. Are you still working there or have you completely relocated to Berlin?

I spent 8 years in Hamburg after living a bit in Montreal in the early 2000's. This is where I decided to start the label, it was just the right timing. I relocated to Berlin in 2012 due to family duties and to fully live here, but I was already very familiar with Berlin since the end of the nineties. I played also more regularly in Berlin from 2010 on and it was a very natural consequence to end up living here.

What’s the philosophy behind RWAV?

My simple goal has always been to create a platform that would allow me to go back to a certain feel, a certain "emotional content" in club music, without caring much about subgenres or anything. Actually go back to a time when House and Techno were not so stigmatised and when club music was transporting a strong sense of spontaneity and honesty. Honesty has probably been the most important element of our success and I truly believe that people can really sense this in artistic works. There has never been a big plan behind the label, but rather clear ideas and inspirations. And friendship has been a major part of our story. Most of the artists who released on the label or did remix work have been friends for years and everything happened very naturally.

We hear your productions receive quite a positive echo among many important figures in electronic music. Are there any personal idols among those who play and praise your records?

Actually, I'm still considering today that I've been very lucky to work directly with many people that inspired me over the years as a DJ and record collector. Basic Soul Unit, Aaron Carl, Sasse, Motor City Drum Ensemble, Andreas Saag, Jimpster, Atjazz, the list is long. And when it comes to people I respect enormously that became strong supporters and fans of the label, the first names coming to my head would be Laurent Garnier, Move D, Deetron, Kink, Trevor Jackson. I felt really honoured for any warm support we received from prestigious or unknown people. We owe a lot to people in far away places such as South Africa, Turkey or even Kazakstan.

The birthday celebration is going down this friday in Prince Charles. What do you have in store for us?

Family is the name of the game. It was really important for me that we would celebrate in an intimate club with a solid system, a place also that I enjoy myself when I'm on the dancefloor. Prince Charles was on top of my list and to have the opportunity to work on the night with my good friend Tim Leginski was a key factor. Regarding the line-up, once again, it is only a family business with people that contributed to the label in these 5 years. Atjazz has been a friend and a mentor for 15 years, an unstoppable source of inspiration. Same goes with the Kyodai brothers, we got a long history together and we showed just that last year with the release of their acclaimed track ‘What You Give’. These days they are one of the best House live acts around and their success is totally deserved. They are hard workers! And André Lodemann represents a beautiful story and a golden line in the existence of the label. I was one of the very first persons to discover him and to believe in him and he released some of his most personal work with us. He is a beautiful soul and music maker and I'm super happy to have him with us on friday.

Ready for that birthday party? We got guestlist for you!

Featured Artist: Exercise One

Marco Freivogel and Ingo Gansera aka Exercise One are "driving a car called Techno off a cliff into the sea of endless possibilities", a trip they've been on for over a decade now. We met the Berliners to talk about analogue gear, black holes and if there's such a thing as the perfect studio.

Also, we're stoked to have them in our Beatguide Podcast series with this brilliant exclusive mix.

Hey Marco, hey Ingo, thanks so much for taking the time! Both of you are quite experienced in the music game. Tell us, how did Exercise One start in the first place?

It all started around 2001, 2002 when we first met in Berlin. We realised quite fast that we have the same passion for creating and making music. From then on it just went naturally, we were out a lot, enjoying the unique club scene in Berlin which captivated us. It was an obvious next step for us to sit down together start messing around with making music. Luckily our good friend Peter threw lots of parties around that time and gave us the chance to play live all over Berlin with basically no resume in the scene. Then we were infected and couldn’t help but go full throttle and lose ourselves in Techno.

So speaking as artists, was it the personal similarities or rather the differences between you that stand at the core of the project?

Probably a bit of both. We have lots in common and also some differences. If we wouldn’t share a common ground on core beliefs in general and a strong passion for the same music we would have not gone so far together. But the same stands for differences. No differences would have made things dull quite quickly.

In your bio it says that in contradiction to you the Techno scene is full of very serious people. Nevertheless, would you agree that your album ‘Tales of Ordinary Madness’ is quite a serious piece of Techno art after all?

Sure it is. Super serious indeed. This album means a whole lot to us and we really made an effort for it to convey a certain mood and to be atmospherically dense. That mood definitely has something serious to it and hopefully some personality. We recorded lots of tracks, which lead us to all kinds of directions. But this time we were not just going for a good, single tracks. The whole thing had to fit together, especially in terms of the atmosphere and sound. So we spent lots of time trying out which of the tracks make sense in context of the album. We are definitely not joking around on this one or letting things run loose and take whatever comes.

You are known as advocates of DIY and DGaF, which for a large part is probably thanks to your past in Goth and Punk. Are you still in touch with your roots or has electronic music completely absorbed you like so many Berliners?

Marco: There was a time when I got completely absorbed by the city. I guess it is totally normal, as Berlin has this power to absorb people in its gigantic black party hole. It’s just too much fun. Your roots always come back to you in circles and waves - I would never be able to hide them and also don’t want too.

Ingo: Obviously there was a strong emphasis on electronic music in the past decade for me but I’ve always been in touch with my other musical passions and always went to see my favorite bands play, including the local ones. That never stopped and Berlin made that easy. For example I went to Dillinger Escape Plan the same night we played Watergate once and just had to cross the street because Dillinger played at Kato, which is now Bi Nuu under U Schlesisches Tor. How great is that!

You’ve put together at least two studios over the past decade. Are you still looking for the perfect setup? Is there such a thing anyway?

We never searched for perfection in the sense of the perfect room and so on. But yes, we tried lots of things out in the last 12 years and now have the comfortable situation to have access to a room full of beautiful analogue gear and another room to mix down our music. For sure there are near-perfect setups, which can only be topped by the unreachable. But even those tend to be situational. Life changes so what’s perfect one year can be a hassle in the next. But we’ve been really happy with what we had over the years and the future is looking good.

After being part of Berlin’s music scene for the last 10 years, you’ve recently reimagined your entire live setup. What was it that inspired you to do this?

This happened already sometime ago. After playing for years with Ableton as the heart of our live set things just started to get into a routine. At one point we did not agree with that anymore. It was the possibility to be able to do everything that bored us. Or maybe it was just too much for us. So we decided to get rid of the computer and Ableton and put an analogue set together with which we both felt comfortable. Nothing big, just some nice powerful machines for the both of us, so we are able to really play live. Things just flow better for us since then so we’ve found our new way for the time being.

Tell us a bit about the gear you use. What tools make that special atmospheric and hypnotic analogue sound of Exercise One?

For our productions we use a good mix of vintage & new gear like a Jupiter 8, TR 808 or Moog’s Voyager and combine it with machines we use in our live set, which among others include Elektron’s Four Analogue and the Octatrack. And of course we add some digital tools to it. Both of us are big fans of Reaktor. But I think it does not depend so much on the gear you use. It is more about the vision of how you want to sound, it doesn’t matter how you create it.

I’ve found this quote from you, which I really like. It says that you are “driving a car called Techno off a cliff, into the sea of endless possibilities”. Where are you headed next?

I guess we are still trapped in that car at the bottom of the ocean trying to get out! (laughs). No, we are drifting around, wherever the current takes us and stay where the beaches are whitest. We have more ideas than time to execute them. Let’s see. We are back in the studio now to get some new tracks out and finish a bunch of ideas we have left lying around for a while. As soon as we feel the itch again we’ll see if we do another album. But that’s not important right now. We will continue making tracks and see what gets us most excited and then will jump into that. And when it happens, we’ll loosen the reins!

Now fasten your seatbelts, our latest Beatguide Podcast by Exercise One is quite a journey!

Win Tickets for Time Warp Utrecht

Two decades in the making Time Warp’s status as a true advocate of rave culture shows no sign of fading. Since day one the legendary indoor Techno party has been about experiencing electronic music in the most intense way possible. And maybe that’s exactly why Time Warp always attracted the most forward thinking minds of the genre, too. Speedy J, Laurent Garnier, Sven Väth, Richie Hawtin, Carl Cox - all of them laid the foundations for the series and still define it today.

But impeccable artist selections are only half of Time Warp’s powerful recipe. A proper rave also requires an outrageous space for the massive crowd to lose their shit. It is no surprise then that Time Warp is still leading the way in state-of-the-art stage setups with visual experiences, which are both mesmerizing and subtle, so the music doesn’t become secondary.

2014 marks the 20th anniversary of Time Warp, a year that already saw brilliant parties in the series’ hometown Mannheim as well as Buenos Aires. To end the epic birthday year with the bang it deserves, Time Warp visits the mighty halls of Jaarbeurs in the lovely Dutch town of Utrecht on December 6. And by the looks of it this is indeed one for the books, featuring Dutch heroes Detroit Swindle, Sterac aka Steve Rachmad, ROD, Nuno Dos Santos, Juan Sanchez and Man With No Shadow meeting face to face with Time Warp veterans Sven Väth, Ricardo Villalobos, Chris Liebing, Pan-Pot, Karotte and Monika Kruse. The icing on the birthday cake? Fritz Kalkbrenner, DJ Tennis, Karenn, Pfirter, Matador, tINI, Maya Jane Coles, Maceo Plex, Robert Hood and a ton of brilliant underground talents.

Needless to say, we absolutely want you to be part of Time Warp Utrecht and so it is our pleasure to offer you the chance to win 1x2 tickets for you and your dearest friend! To participate click here.

Good luck!

Your guide

Featured Artist: Scott Kemp

An established young gun in Europe’s electronic music scene, UK underground talent Scott Kemp has a special sense for the deeper, atmospheric side of Techno. Having just turned 25 we met the Londoner for a quick talk about mixing techniques, the beauty of vinyl, lengthy tracks and his upcoming NoVus label showcase at Chalet on friday.

Make sure you check out his exclusive warm-up set he made for the Beatguide Podcast series here. Also, you can get yourself some guestlist for Scott's next gig on Beatguide!

Hi Scott, thanks so much for taking the time! We heard you just turned 25, so a happy belated birthday to you from all of us. How did you spend your birthday? Any cool gear or big surprises among the presents?

No worries, and thanks for the birthday wishes. I actually spent it swinging from trees in an adventure park for adults with my girlfriend, which was a lot of fun I must say. No gear just yet, although I got a lot of records that I can’t wait to play out at gigs next.

It’s no secret that you have a special love affair with all things deep and dubby. Do you remember the first records that got you into this side of House and Techno? Which people and places lead you to find your style?

Yes I’ve always been a big fan of Techno. I would say from the early days Fergie was a huge role model for me, because he used to play stuff that I would never hear ever again unless I went to another one of his gigs. Since then my music has changed. tINI took an interest in my music and played my tracks such as ‘Oh Yeah’ out on Ibiza Sonica Radio during the summer of 2010. This sort of got me on the radar, and the track was later released on Dutch imprint Karton. By this point I had really got into the dark and groovy music scene.

Your latest EP Mullen comes with 3 tracks that fill a whopping half hour. Where do you draw inspiration for these long organic and, at times, trippy productions?

The NoVus EP was something I really sat down and took my time on, listening to other tracks for inspiration on my own. I’ve started producing very long tracks because I like to mix three decks at once, similar to how RPR play their authentic sounding style of music. It gives you more time to bring in your next track so that there is always two tracks playing at one given time.

This friday you’ll host a showcase for your own label NoVus in Berlin’s Chalet club alongside your friends Pelle, Lilith and Roon. What do you have planned for us?

NoVus has been a project that myself and Cris J have really put a lot of time and effort into making sure everything is exactly how we want it, and the artists on the label are all our friends who we support and they in return support us back. It is one big musical family. As for plans I never really plan ahead, I just go with whatever is happening at the time, but I can assure you that the selections from all the artists will be spectacular on the night!

Since you’re a firm believer in vinyl-only sets, we have a feeling you won’t be able to leave Berlin before you’ve done some record shopping. Is that right?

I do like vinyl, a lot! There’s just something about that. I love the authenticity of it all, it’s really exciting to me. But recently I have been converting some of my vinyls to MP3 just because I can’t take my whole collection to every place. I will make sure to do a lot of record digging whilst I’m over there!

Now kick back and enjoy the very talented Scott Kemp in the mix!

Happy Birthday, Ritter Butzke!

Hidden behind tall brick walls in an old industrial yard lies one of Berlin’s true hotbeds for underground club culture: Ritter Butzke. With its 5th anniversary approaching, the crew is proudly looking back on a time well spent with such lovely visitors as Wasted Unicorns, Jeudi and 3000 Grad as well as brilliant series like Hijackin’ and Crave. Two days before the big birthday celebration kicks off we had a quick chat with Ritter Butzke’s very own Ronja about the past, the present and the future.

So, how did it all start actually?

It all began with a gang of enthusiasts in the heart of Kreuzberg. To be more precise in the old fittings and metalware factory built in the 19th century. The building belonged to the Butzke-Werke and is listed as historic monument today.

If you had to choose, what would be the best moment in the life of Ritter Butzke so far?

Actually, the best moment reoccurs every weekend! When the first record is spinning away on the decks just after the first Pfeffi has been knocked back.

And the best anecdote from the door?

Our best anecdote is made entirely from cotton and is called Ted. You’ll find him running around our door every few weeks wearing slightly faded, yet intense colours. He’s the best textbook example of a green-camouflage-jogging-suit you’ll ever find!

Since last year’s anniversary you also have your own label. What’s the philosophy behind Ritter Butzke Studios?

Basically our philosophy is this: take a risk and create something substantial while staying down to earth and true to yourself. That’s what our label and our club is about!

And what’s the plan for the next 5 years?

The next five years will be just like the last five, only five years later (laughs). No really, we got lots of surprises coming, spontaneous, wild things. But of course we also keep all those great parties we’ve really come to love over the years. After all we’re looking to complete our first decade, so in that we’re definitely bracing ourselves for adolescence.

Join us at the epic 5 Years Lost party and celebrate the great Ritter Butzke’s birthday with more than 60 artists including the likes of Dauwd, Max Cooper, Schlepp Geist, HVOB, and El_Txef_A. Doors open thursday and don't close ‘til monday. We got guestlist for you!

In The Raw: Dimensions

Our new series In The Raw takes a detailed personal look at the world’s best electronic music festivals. We begin with the decade’s hottest newcomer: DIMENSIONS.

For connoisseurs of electronic music Dimensions in Croatia is undoubtedly one of the best festivals out there. Held in an abandoned military fort on the sunny coast of Istria, the incredible setting becomes almost secondary when you take a look at the lineup. It’s not often you get to see the likes of Caribou, Darkside, Marcel Dettmann, Jon Hopkins, Warpaint, Laurel Halo, Floating Points, Om Unit, Roman Flügel, Jessy Lanza, Ben UFO, Robert Hood, Lenzman, Theo Parrish, Moodymann, Nils Frahm, The Internet and all the others in one place.

To find out if it really is as good as it has to be, read what our man Florian Schäfer experienced on the small peninsula just outside the small Istrian capital of Pula.

The only bad encounter I would have at Dimensions ‘14 occurs right in the beginning, almost as if it were something that has to be dealt with before anything else can happen. Shortly after arriving on the festival grounds I visit the toilet to take a leak. Of course, nobody expects people to be on their best behaviour when attending a music festival. And so maybe that's exactly why the guy in the cubicle next to mine decides to discard his soiled swim shorts clearly visible to me on the floor of the toilet. True, this is a slightly disturbing welcome gift. But it's also kinda funny. And I can promise you: it gets better from here. Much better.

I exit the otherwise very clean sanitary facilities that come fully equipped with showers, which are free of charge, too. In search for a drink I walk past the merchandise stand, literally the first thing you see upon entering the festival. Personally, I would’ve gone for a display of the lineup or maybe a tiny bar serving only shots, but what the hell. Besides, the shirts, hoodies and tote bags do look rather nice. Before you can buy anything here though, you have to get the official Dimensions currency. Paying with tokens sounds much more annoying than it really is. Also, as several attendees would report to me later, people who aren’t even part of the festival often accept the plastic money. Cab drivers, kiosk clerks, dealers, you name it. The only catch: you can’t change it back. Oh well.

the beach stage right in front of the water - picture by instagram.com/techno_travel_hikimas

I grab a €4 draught beer which tastes alright and head down to the beach, where I meet my good friend Sophia, who came here with me from Berlin. On the stage that lies right in front of the water, Kwabs performs his soulful and very fitting song ‘Brother’ to a small, delighted crowd. We pause for a while, overlooking the pretty little bay with its calm, crystal clear water. Needless to say it’s a beautiful day. While some cure their opening-night-hangovers at the food stalls, most people chill in the sun, go for a swim or lie conked out on the beach. Not surprisingly, the prevailing summer camp vibes appear to have put everyone in a state of blissful relaxation.

We take a walk down the beach to Pacino’s, a stage that caters to those in need of more shade and bassier tunes. On the way we come across a stand that offers 30 minutes of wet-and-wild-style water slide fun in the sea for five bucks. It doesn’t strike us as the best deal, but it does look like fun. And it certainly fits the setting much better than bungee jumping, a standard attraction at those grotesque EDM circus shows.

summer camp vibes at Dimensions - picture by instagram.com/techno_travel_hikimas

We buy an excellent Mojito and go back for a dance on the beach, where we make friends with Marco, a pizza baker from Bergamo, and his mates Alex and Mattia. Only a week before, whilst attending another festival a few hours south of Pula, had they found out about Dimensions. For them buying the tickets was a no-brainer. After an hour on the beach we realise that Dimensions is actually smaller and much cosier than we expected. This is very good news. Also, the crowd turns out to be an absolute delight. The people’s genuine decency and true passion for music add up to a very special, warm atmosphere. If you’re not busy dancing to great music, you’re busy making new friends. And because the festival is so small, you have plenty of chances to meet again, hug, kiss, maybe even remember to exchange phone numbers.

8 pm: watching the sunset here is rather spectacular. We decide to have dinner before the night really kicks off. The food spectrum spans from fruit and healthy-vegetarian to dirty-greasy. Most stalls appear to be run by small, local businesses. It’s all really decent. There’s also a stand serving tea, biscuits and rashers of bacon for homesick Brits and anyone looking for special comfort.

inside Fort Punta Christo - picture by instagram.com/techno_travel_hikimas

After stocking up on tokens we finally walk up to Fort Punta Christo set on top of a hill overlooking the bay. Appropriately named, The Clearing is the first stage on the way and also the biggest at Dimensions. Since it’s empty still we continue on the bendy path to the fort. A handful of cops wait beside the entrance. They look bored and intimidating at the same time. The dog patrol that was promised to be in operation is nowhere to be seen. We walk up to the fence where security check everyone’s wristbands. This process repeats every time you want to enter another stage. It’s a bit annoying at first, but after a while you don’t even notice it anymore. This is in part thanks to the fact that it is at no time overcrowded. I cannot overstate what a huge plus this is.

Before we continue Sophia is required to put on proper shoes, as sandals, flip flops, stilettos etc. are not allowed to be worn inside the fort. The terrain is rough and stony. This policy then is a good example of saving people from their own stupidity. In fact the organisation of the festival is excellent. Staff and especially security personnel are friendly and helpful. Bars and toilets are never far away, the queues are short. The only things missing are a few old couches and armchairs in the quieter corners. It’s nice to have a sit and a chat every now and then.

Nick Höppner warming up The Void - picture by instagram.com/techno_travel_hikimas

After a good hour of exploring, we’ve visited all of the eight stages scattered across the fortification. The Void has the most minimalistic sound system I’ve ever seen on a major festival stage. But don’t be fooled. The two Incubus stacks by Void Acoustics, which look like they weren’t made on earth and are only supported by a pair of Air Motion horns in the center, should suffice to tear your face right off. When we arrive Berghain resident Nick Höppner is taking the system for a first spin. The sound is fantastic. Evidently, there are some truly dedicated engineers at work here and the results are almost always brilliant. The Moat, which really is a stage in the fort’s moat, seems a bit too loud by default. Nevertheless, the vibe in this ditch of madness is as unique as it is intense. So we spend a good part of the first night with the great Fred P as well as Ukraine's finest export Vakula, who has the balls and the skills to go from Disco to Techno and back again in an instant without breaking a sweat. Two badass DJs I’d come to see again anytime.

the Void w/ Incubus stacks by Void Acoustics - picture by instagram.com/techno_travel_hikimas

the Moat - picture by instagram.com/techno_travel_hikimas

Other great stages in the fort are Mungo’s Arena for all Bass and Jungle heads, Fort Arena 1, and the mighty Ballroom (more on that later). Like everything at Dimensions, the setup of each floor is minimalistic and functional. The surrounding trees and walls are illuminated evenly in blue, green, yellow, red and purple. There’s also some cool psychedelic project mapping. A few people I talk to would love to see more dreamy decoration or more art in general. I remember walking past a tree that was decorated with a pallette of differently coloured water bottles. Since I wasn’t really sure what I’m looking at right away, I was glad to find a sign next to it that said: “Art Installation. Please Do Not Drink.”

at The Garden stage - picture by instagram.com/techno_travel_hikimas

The folks at Dimensions might not pay as much attention to artistic detail as others, but who says they won’t in the future? Afterall it’s a very young festival. Besides, it is a madly beautiful, adventurous place to begin with. The beach, an abandoned military facility, party boats - I honestly can’t picture a more ideal setting for a summer festival. This was clear even before Nils Frahm laid down the first chords of ‘Says’ in the ancient, sunset-tainted walls of Pula’s amphitheater at the opening concert the night before. On that note: nobody could have wished for a more elegant, emotional and, thanks to Darkside, moody beginning for this festival.

Nils Frahm during his masterful performance at the opening concert the night before.

05:20 am: where did the time go? I arrive in front of the small Arija stage and listen to the last minutes of what must’ve been a great set by Brixton man Resolute. As the floor is just by the exit of the fort and closing time is drawing nearer, the small group of ten turns into a crowd of a hundred dancing people in just a few minutes. The DJ drops a cheesy Disco Soul tune that would even put a smile on Angela Merkel’s face. I meet up with Sophia and the Italians. Then the music stops. I check the time. It is exactly 06:00 o’clock. The abrupt end comes right on schedule. It feels a bit weird, especially for those who are used to clubs with opening hours that are longer than their closing hours. But truth betold: after many hours of dancing, I am thoroughly tired. And thoroughly happy.

In the days that follow, we experience a beautiful, peaceful celebration of music that was so littered with highlights by such great artists like Motor City Drum Ensemble, DJ Stingray, Laurel Halo, Roman Flügel or Blawan, it’s almost unfair to pick out just a few. Looking back for the sake of inspiration though, here are three personal highlights of Dimensions 2014 in particular order.

A boat isn’t just a cool place to have party in. It’s also the perfect environment for DJs to leave their comfort zone and experiment. So what starts out as a familiar House and Techno session with Dolan Bergin on the Electric Minds boat, ends with Move D playing Soul, Disco and finally Crystal Waters’ legendary ‘Gypsy Woman’, turning the main deck into a full-blown gold-coloured confetti riot. A truly memorable moment for everyone lucky enough to be there. If this label does a showcase in your hood, go check it out!

Apart from the live performances by Darkside and Nils Frahm, Jon Hopkins’ gig at The Clearing on friday would surprise me the most. Moving ferociously between Ambient, Techno breaks and Electronica, the Londoner delivers such masterpieces like ‘Open Eye Signal’ and ‘Collider’ with unexpectedly physical passion. Throughout the performance Hopkins’ occasional huge smile is definitely visible from space, making this even more fun to watch.

inside The Ballroom - picture by instagram.com/techno_travel_hikimas

My absolute, and admittedly very personal highlight of this year’s festival is all about Techno, however. At the end of a long, narrow corridor in the darkest corner of the fort lies the smallest stage at Dimensions called Noah’s Ballroom. And for four days of the year it might just be the best dancefloor anywhere in the world.

Like a tiny club that just happens to be on the festival grounds, there’s always a small queue at the entrance. The wait is 10 minutes tops. Inside, the Ballroom is essentially a stonewalled, circular pit. There’s no roof, which means lots of fresh air to go around. Instead of a chandelier you get to see the stars. Only 75 people are allowed in, so there’s always plenty of dancing space. The Ballroom is intimate and, thanks to Void Acoustics, ridiculously intense. The music in here feels strangely fluid, like you can almost touch it. But honestly, I have no words to describe the unreal acoustics in that place.

a moment of calm in The Ballroom, Dimensions' smallest and most intense stage.

It seems the only thing needed is someone to bring all of these lovely pieces together. When I enter the Ballroom for the first time, a guy I don’t know is standing almost motionless in the dimly lit booth, occasionally throwing a sly smile at a crowd that is going completely berserk. What a vibe! I haven't even started dancing yet and the all too familiar grin is already irreversibly carved into my face. In the next hour the DJ drops a flawless Techno selection filled with bulky, driving basslines and airy chords, topped off with hints of Dub and Acid. A brilliant set both deep, but not too trippy, with a clean, yet not sterile character. I zone out dancing and forget where I am. Halfway through the set Sophia arrives in the Ballroom and hands me a drink, which shortly reels me back into reality. We hug, talk for a brief moment and begin to dance again. After a while I turn around to her. Guess what look she has on her face?

Thank you Dimensions, it was a huge pleasure to dance with you. See you next year!

One last thing: The unknown man in the Ballroom is Nikola Galina aka Ganik from Zagreb. Go check out his profile or, better still, ask him to play in your city.

picture by instagram.com/techno_travel_hikimas

Featured Artist: Jimi Jules

Growing up in Switzerland, Jimi Jules began his career in Zürich's notorious Hive Club. Today he's part of the Hive Audio family and resident at Watergate. We sat with Jules to talk about his collabs with Oliver $, the excellent We Want party series and to find out why he is two Jazz legends in one.

Hi Jules, thanks for taking the time! Since you’re from Switzerland we’ve got to ask: is it more fun to make music in the peaceful mountain air? Or do you prefer the bustle and hustle of a big city?

Hm, it depends. For me it is quite important to have some ideas, my computer and my Zoom recorder. But it doesn't matter in which place I am. Sometimes a new place gives me a new inspiration. The best example is Berlin. Everytime I visit this city, I come back with different ideas. Most of the time they are more rough and sometimes much more based on Techno than the music I usually do.

We hear you’re sometimes described as the fusion of Jazz legends Herbie Hancock and Miles Davis. How come? Are you really that good?

(laughs) It was the author of my first artist bio! You know, I studied Jazz, and I think the only names he knows in that genre are Miles Davis and Herbie Hancock.

Besides your work as DJ and producer, you’ve also founded the band called ‘Le Dompteur’. How’s the project coming?

I was working on the first album, but unfortunately I didn't backup my hard drive and lost everything. No risk, no fun!

In the past you’ve been collaborating with Oliver $ quite a few times, releasing such delights like Pushing On or Wake Up. How did you end up working together?

Back in the days, I think It was summer 2009, I met him at Hive Club and he invited me to Berlin. Since then we're friends and hang out quite often. At the beginning he was like a teacher to me. After some years we finally started to work together as a team, which turned out very well.

When you’re not in Berlin, you’re usually travelling to Bern and Zurich. How’s the nightlife in Switzerland? What do you love most about the local music scene?

Hmmm, OK! It's alright. For me it's really all about Hive Club and Rok in Switzerland.

You’re part of Hive Audio, the label that belongs to Zurich’s infamous Hive Club. How did you get involved with the crew?

They invited me to play. I just started djing. Afterwards Chris, one of the owners, said: “That was one of the worst sets I've ever heard at Hive Club.” So that was my beginning (laughs). It was my favourite electronic club and first I thought, “Fuck, I’m never gonna play in this club again.” But Chris gave me a second chance and I became a resident.

You’re also a resident at Watergate’s We Want event series, the next one is coming up this Saturday. What do you have in store for us this time? In general, what’s the philosophy behind the party series?

Back to Disco. This time our main guest is Lindstrøm from Oslo. The party belongs to the Berlin based people who normally don't go out on saturdays. Mira and Eddy did a very, very, very good job with this event. Of course it's my favourite party, but not only because of the massive Watergate location. For me it's very special every time to play for people who love electronic music like I do.

What the next big thing on your list this year?

I’ve got some tracks coming out on Rebirth and Play It Down and, on the other hand, I'm collaborating with my friend and idol Kalabrese.

Now turn up that stereo and enjoy Jimi Jules in the mix!

Featured Artist: Dan Drastic

With impeccable productions on internationally acclaimed Moon Harbour Recordings, a residency in Leipzig's legendary Distillery, and the privilege of hosting his label's monthly radio show, Dan Drastic is a true driving force in Germany's club culture. Thus a perfect reason to have a quick chat with Daniel about the charm of his lovely hometown, his approach to producing and life as radio host.

Hi Daniel, thank you for taking the time! The summer is slowly coming to an end. What were your highlights as a DJ so far this year?

Sonar was pretty great this year, with two awesome Moon Harbour Parties, the highlight of that was definitely playing at the beach with Sable Sheep. But the most surprising gig was probably the afterhour for our 14 Years Of Moon Harbour party in an old strip club in Leipzig, where I ended up playing for 11 hours back 2 back, first with Chris Wood and later with Matthias Tanzmann.

You began your career in the nineties as a DJ in Chemnitz. In 2004 you moved to Leipzig, a city whose nightlife has an excellent reputation. What was the vibe like when you arrived? Is it still the same today?

The vibe in Leipzig was always a little bit more on the easy side of life, whereas Chemnitz is an industrial city. The people in the clubs are often quite open and friendly, which was a reason to move to Leipzig and the bookings were also much better as in my hometown. A big reason for the freshness of Leipzig’s scene is that it is a university town with a focus on arts. And every fall there are new, young people coming to Leipzig. I would say it’s still the same, even if i don’t go out this much anymore. But when i go out the parties are mostly great. There are so many clubs in Leipzig and if there is nothing you like in the club, chances are high there’s an illegal party somewhere.

The first tracks you produced came out on labels such as Highgrade and Lorna. Looking back today, are you the same producer you were 10 years ago?

In some ways I never really changed my approach, I never got to a point where I could say “now i’m a professional producer”. I’m always a rookie, learning new things every time I’m sitting in the studio. I also always worked with only a computer and no outboard equipment. Although I really would like to have some gear I never really could decide what to buy.

It was also in Leipzig that you became part of the internationally acclaimed label Moon Harbour. How did you get involved with the crew?

I knew André and Matthias already when I still lived in Chemnitz. And we all had a lot of the same friends in the business. As I moved to Leipzig, Matthias also just moved back, because he studied in Weimar for a couple of years. We pretty much went out every night or went to his gigs together. In 2006 they asked me if I wanna help them in the office and now i’m stuck there (laughs).

Did you always have a passion for radio or was it more a coincidence that you became the presenter of the monthly Moon Harbour radio show?

It’s funny, I was always interested in it - must have something to do with my obsession for blinking lights and knobs - but I actually have a severe fear of microphones. Maybe that’s why I became a Techno DJ instead of a wedding DJ. We started the radio show with Chris Lattner, because he had no problem with talking English. But after a while he had to quit and Luna City Express and I took turns hosting the show. But since it’s a time intensive process they also had to quit. Now it is my baby for the last two years and I really love it now, I don’t care so much about my accent anymore and I actually started to enjoy the artist interviews as well.

So what do you enjoy most about being a radio host?

I think it's the fact that I can work on another aspect in the business. Also that I now have something for which I can bring my very own personal note to the show is great. Now more and more people approach me at parties and tell me that they are listening to the show, which makes me very proud.

Your latest release features two tracks called Ice and Beyond the Sea. Where do you draw your inspiration from when making music?

I mostly just start with a groove and if I’m staying interested, chances are high I finish this track and don’t wander off and play video games. In the case of Ice and Beyond the Sea, I was actually pretty burnt out, because in the months before I tried to make quite complicated and “arty” tracks and kinda drove them all against the wall. So I started those two tracks with the premise to start them as simple and straightforward as possible. In the end not the worst idea in my life.

What’s the next big thing on your list?

There is a lot of work in the office right now, a new inhouse compilation is on its way and the 10 Years Anniversary compilation for Luna City Express. I just finished a couple of new tracks and there are some cool parties within the next months, too.

Now check Dan Drastic dishing out only the finest tracks for the latest edition of the Beatguide Podcast series. Enjoy!

Artist Feature: Baron Castle

Baron Castle is a busy man. Besides working for Boiler Room as well as two of the hottest labels in the game, Hotflush and Greco-Roman, the Australian born DJ is now gearing up for the launch of his own label Myth Music later this year. We had a quick talk with Aaron, who told us all about his Berlin-based party series White Tiles, the people and places that influenced him most and his favorite clubs today. Also, make sure you check out his excellent selection for the Beatguide Podcast series here!

Aaron, thanks so much for taking the time! You’re originally from Sydney, Australia. Tell us a bit about the local music scene. What do you love most about your hometown?

Well actually I haven't lived in Sydney for around 9 years, so I wasn't really involved in the club scene there and don't have many connections to it. Before I moved to Berlin I was living in Melbourne for 5 years. I was 18 when I moved away from Sydney, and before that I was mostly into going to raves and playing dutch hardstyle, so I wouldn't say I have an informed opinion of the scene there. Also I haven't been back to Australia since I left at the beginning of 2011, but Melbourne has a really healthy scene from what I can see. For example the stuff that the Animals Dancing & Melbourne Deepcast crews are doing is really up there with the top House scenes in the world.

How did you end up in Europe?

I'm half German, and my dad has always lived in Germany. So I've been coming to Europe for holidays every 12 to 18 months since I was 11. After I finished university it seemed like the logical move to head here. Originally I wanted to move to Barcelona, but let's just say my Spanish and Catalan consists of 'no comprende'.

Since 2012 you’ve been organising the event series White Tiles in Berlin. What’s the philosophy behind it?

I'm not really sure we have a philosophy per se. When I met Marius Krickow who I run the parties with, the UK house and Techno thing was really coming up and with the closure of Horst club we thought there wasn't really many promoters focusing on this. So our first few parties were getting over artists like Leon Vynehall or Dense & Pika for example. Since then there seems to be alot of others booking this stuff now and as our tastes have changed slightly, the bookings have widened. But I guess it will always be focused on more dubier house and slower techno.

The next edition of White Tiles will be held at IPSE. What do you have in store for us this time?

We've invited some friends from Aniara whom I can't name, Jack The Box aka Tyree Cooper and Bobby Starrr, plus Reznik and Sankt Göran. I wouldn't say this is a typical lineup for us, but we rather inviting some friends who will make a nice open air party with us. Beyond that we've got Stephen Brown making his Berlin debut at Chalet on September 12, along with Jordan Peak and some others. And on September 27 we'll take over a floor at Renate with DJ October and Lando.

Your own sound is on the deeper and more Dub-infused side of Techno and House. Which places and people do you feel have especially influenced your style?

The truth is I wasn't really listening to House or Techno when I moved to Berlin, so it's definitely the people, the clubs and the DJs here that have influenced me. I can't not mention Berghain and Panorama Bar. As I don't really play faster than 127 bpm, I guess Panorama has influenced me more. I think the sets that have influenced me the most over the last year there have come from XDB, Ryan Elliott, Fred P, ItaloJohnson, Oskar Offermann & Edward, John Talabot, Midland and DVS1.

If you had to choose, what are your favorite clubs as a DJ at the moment?

My favourite places that I play at the moment are Stattbad and Chalet for different reasons. Stattbad has to be one of the most interesting locations for a club in the world, located in an old swimming pool complex. I'm lucky enough to have played all three floors this year, including closing the pool after Mount Kimbie which was definitely a highlight. The booth and sound in this club is amazing. Chalet I love for the vibe, as it can get really intimate there and the crowd is always really up for it, so you really feel like you can take the crowd on a journey, especially playing extended closing sets which I often do for my parties. Also the staff and management in both these clubs are kind of family, so it's always a pleasure.

Besides djing you are also part of Boiler Room, one of the most celebrated institutions in electronic music today. Is it as much fun and stress as we imagine it to be?

It's definitely a lot of fun, we have a great team to work with and its always nice to have an opportunity to meet a lot of the artists that you admire, and get to see them play sets you'd usually have to wait until at least 4am to see. It is generally pretty stress free, unless something goes wrong, then it can definitely push your limits!

Although you mostly focus on your work as a DJ, promoter and for labels such as Hotflush or Greco-Roman, do you still plan on producing your own music some day?

Well apart from what you just mentioned, Lando and I are about to launch our own label Myth Music. The first from him should be out in October with a Will & Ink remix, and the next in December with a Bleak remix. After that the plan is to definitely get my own stuff out there, so I would say realistically early next year.

After living in Berlin for some time, would you say you are settling or do you have your eyes set on the next city already?

I wouldn't say I'm settled here, but right now it suits me well. After this I haven't ruled out making the move to London and beyond that my plan is to spend some time in the USA, probably somewhere in LA.

Thanks for taking the time, Aaron!

Now we’d like to invite you to check out Baron Castle's exclusive set for the Beatguide Podcast series. Enjoy!

Artist Feature: Gunnar Stiller

Starting out as an event manager working for various venues in Berlin, Gunnar Stiller's path inevitably lead to a professional career in electronic music. Today, he's booked all over the world and loves to deliver his deep, funky take on Techno and House in sessions that sometimes last well over 5 hours. We had a quick talk with Gunnar about his heroes, the importance of cover art and touring the globe.

Gunnar, thanks so much for taking the time! In the early 80s you moved from Rostock to Berlin. It must have been quite the journey growing up in a city, whose culture changed so radically over the past three decades. Looking back, what were the most important moments that shaped your life as an artist?

I think it was some time around 2000 when I really discovered the electronic music scene in Berlin. When I started my education as an event manager I worked for the legendary No UFOs agency, who run the clubs Sternradio and Polar.tv. That was the time when I really started to understand the scene and I met all the great DJs in our clubs who inspired me a lot.

Who were your heroes and mentors along the way?

In the beginning it was DJ Woody who totally inspired me with his skills and techniques while playing his lengthy sets for more than 10 hours. Later on it was especially guys like Steve Bug, Martin Landsky or Matthias Tanzmann.

When did you know that you want to pursue music professionally?

That was around 2010 after working some years as event manager. I felt like doing something different and I knew I should try to do it more professional.

Was it easy for you to find your own style in the Techno and House community?

It took me a while to find out the right style. I started with Deep House and ended with Techno. So today I play a wide range between House and Techno, always depending on the night I am playing and for sure the people dancing to my music.

The cover design for your latest EP What’s Said Is Done on Upon.You Records is quite mesmerizing. Is it important for you to match your musical productions with the right visuals?

I think it is always great to have a nice cover for your release. Especially here at Upon You we have one of the best graphic designer I know. For him it is more than only working on a cover, for him its real art.

You’ve been a resident at Bar25 and Kater Holzig for many years. Are you planning to continue that residency at the newly opened Kater Blau or are you looking for a new adventure?

I hope so! It was always an important part of my musical history here in Berlin and I really like the people from Kater. But I also love to play my 4 to 5 gigs at Watergate over the year, which for me is one of the best clubs in the world.

You are known to have a knack for playing extensive sets. What do you gain as an artist when playing more than 10 hours?

Playing long sets was always special for me. Sometimes when you just played a regular two hour set you feel like it was only a little warm up. I love to built up a dramaturgy in my sets, to take the people with you on a nice trip. This is only possible when you have the chance to play longer than two or three hours.

Today you play gigs all over the world. Is that as enjoyable as it sounds or are there also nasty drawbacks?

This was always a big dream for me. Getting the chance to travel around and to meet people from all over the world. And in the end you are celebrating all together to the same electronic music – this is absolutely fantastic. As every job it is a bit exhausting sometimes , but I really love it!

Lucky for us, the summer is still going. Is there a festival gig you’re especially looking forward to?

It’s not a real festival, but I can’t wait to play again at The Gärten in Beirut at the end of august. It was super special last summer and the people from Beirut are just amazing!

We're very happy to have Gunnar bring the good vibes to the Beatguide Podcast series. Whoop!

Label Feature: Difu

Founded back in 2007, independent label Difu from Lyon has been attracting a rather diverse selection of artists and musical styles over the years. Since then the founders Laurent Caligaris & Jacques Terrasse have spent most of their time behind the decks or in their own studio, where they bring up new talents, collaborate with old friends or work on their own productions. We met they guys just in time for their debut appearance at Berlin's infamous Golden Gate club to talk about the local scene in their home town, the importance of big names and the pleasures of playing at small venues.

Laurent, Jacques, thanks a lot for meeting us! You guys are from Lyon, which is also home to the brilliant festival Nuit Sonores. Tell us a bit about the local electronic music scene, what is special about the city?

Laurent:

Hi, really happy to meet you too! Lyon is becoming a very interesting city for those who love electronic music. Not only during Nuits Sonores Festival, which is definitely amazing, but also throughout the entire year. There is so much energy, lots of culture, good clubs and people who want to party. And it's getting better and better more and more every year. Berlin has such an important influence on us. But as it's not possible to manage music the same way in Lyon and, as the town is totally different too, we have to do it in another way and it's a good thing to have our own musical identity.

Jacques:

Since the beginning, Nuits Sonores festival had lineups with famous guests and local artists. To give credit where credit is due, the festival has been an "engine" in the development of the local scene. The festival team worked hard with the city administration. They also organised "Echo Sonore" parties every month with exciting lineups. Then in 2012, they stopped these parties and handed them over to the other local promoters. And this is a success! There is great dynamics here, a new curious and passionate generation is growing. There is more and more parties. Two new record shops opened last year (Chez Emile and Groovegde), and also two new clubs, Terminal, where we have a residency each month, and le Sucre, a bigger place with a magnificient rooftop.

How did you guys end up making music together?

Laurent:

I met Jacques as I was organising a concert with Aqua Bassino from FCOM (Laurent Garnier's label) for a jazz festival. He came talking to me as I was djing. When a music lover meets another music lover, they can talk for a long time!

Jacques:

After this meeting, I participated in Laurent's radio show every saturday. Then I moved to Paris for two years, where I spent a lot of time at parties, making contacts in the music business. Afterwards, in 2006, I moved to Lyon again and Lauren and I came up with the idea of Difu records.

Looking back, which artists in both electronic music and other genres have influenced your work the most?

Laurent:

I had the luck of growing during the eighties, so Depeche Mode and DAF were really important to me.

Jacques:

Laurent Garnier made me want to start djing. Also Kevin Saunderson, one of the Detroit godfathers, with his powerful Techno basslines. I have to mention Manoo, resident DJ at l'Ambassade and one of the most talented DJs and producers for me. He is a really humble person, an example.

Since 2007 you‘ve been running Difu with a rather diverse selection of artists and productions. What is the philosophy behind the label and your own work as producers?

Laurent:

We started Difu wishing to be a part of this crazy musical revolution, with this idea that everything is possible. We wanted to go as far as we can. It took around five years to build the label’s identity, and to learn how to do the job. But in the end, the philosophy is still the same: love for the artists’ music and creating a beautiful connection with them. As i'm fully involved in the label’s work, it’s really time consuming. But since 2006 I produce my own music on a regular basis, mostly on Difu. My last release was a remix for Terrence Parker in 2013 and I'm actually working on an EP with Patrick Vidal, his first House production in France since 1990, with remixes by Honey Dijon and Oskar Offermann.

Jacques:

In the beginning, we were looking for our own sound, also in our DJ sets. Now our sound is more and more mature. Also, in 2012 we changed the Difu logo and gave it a new visual identity with Maxime Colin, who joined us as a graphic artist. He’s a real talent. It's difficult to classify the label in a particular style. Laurent and I always choose the tracks that we want to release together. We trust our emotions, so the most important thing is that we can feel the music. I actually never produced, but I have a growing desire to do it now.

Do you have an identical taste in music or is it rather the contrasts and differences that make your collaboration possible?

Laurent:

We have different musical roots. Jacques has a background in Hip Hop, for me it’s more Punk and New Wave. Electronic music is where we meet and find the balance. We are using these differences to give each other something new and in the end we produce music we both love.

Jacques:

We already worked together in the studio, which something new and exciting for me. Laurent is really meticulous in the process of production. I am more direct, more impatient.

When can we expect your next release?

Laurent:

Next release is the Eedio's LP called "43", coming out in September after his vinyl EP with some Najem Sworb and Elbee Bad remixes. It’s so important for us to produce this LP from a friend who has been on our side from the beginning. Eedio was the first French artist who joined the BpitchControl familly more than ten years ago. It was really awesome to produce his work on the Difu 002 back in 2008. Afterwards we will release my own EP featuring Patrick Vidal and Honey Dijon (Classic, NY) and Oskar Offermann (White, Berlin) remixes. I’m sure you can already guess how important this is to me.

Jacques:

Eedio is a guy who comes from the same place in the French countryside as me. It's a real honor to release his first LP on Difu. I'm really happy for my buddy Laurent and his next release with Patrick Vidal. Can't wait to listen to the Oskar Offermann remix! I really enjoyed the last time I saw him on the decks at Panorama Bar.

As you mentioned before, we can also find releases from guys like Terrence Parker and Elbee Bad on your label. Is it important for you to attract big names or is music bigger than names?

Laurent:

It is not insignificant to release big names when you're a small independant label. Producing Terrence Parker last year made us better known among diggers. But we are also producing newcomers, just because we love their music. Like Qlons two years ago, a swiss duet that is now on the last "Tour de Traum” compilation mixed by Reiner Reinhold. We had Elbee last year for a label party and it was amazing to get to know him. We met him again and he said, “Guys, I will send you my music”. Arttu was listening to the track “It's the People” in the car when we came from the airport. I saw he was loving it, so I asked him during the evening, if he would like to make a remix and he said yes. The EP is not an Ibiza dancefloor killer bomb, it is music you have to really listen to first.

Jacques:

I totally agree with Laurent. Elbee Bad's EP is a good example to show how the easily we manage things at Difu. We discovered this producer with his re-release on Rush Hour, and we simply contacted him via a social network. Then during the gig with him in France, we listened to the music that we enjoy, War, Redman (this funny freestyle in the car on "Pickt It up" track). And Elbee made us listen to this demo "It"s the People" and Laurent and I immediately thought the same thing: we absolutely have to release it on Difu!

You’re going to play at the notorious Golden Gate in Berlin this week. What do enjoy most about playing small, sweaty venues?

Laurent:

Golden Gate is small, but truly is notorious in our community, I can't wait to play there! Playing in a small club means that you see crowd and can even communicate with the audience. This is so different from playing at a festival with thousands of people. It's to be right there and sweat!

Jacques:

Being close to the audience is important and that’s exactly what you get in small venues. We are very keen on seeing this club alongside our friend Kate Miller. Playing with a hugely talented DJ like her is very inspiring.

We’d love to see you guys put together a Difu label showcase in Berlin. You think you could do that for us? Which club would you prefer?

Laurent:

As you can imagine, in Panorama Bar. That would be crazy. But if I’d have to choose another one, I was really impressed by ://about blank. Definitely a place I would love to have a label night in, too. But you know Berlin's clubs much better than I do, so you gotta give me some good advice (laughs).

Jacques:

Yeah, in ://about blank we can find all characteristics of a Berlin club: unusual place for a venue, brilliants lineups, a good sound system, not that many lights, and a lot of electronic music underdogs.

We say merci beaucoup and invite you to check out this very special warmup podcast for A little more... at Golden Gate this saturday by Difu label founders Laurent Caligaris & Jacques Terrasse. Enjoy!

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