Robert Henke aka Monolake, born in Munich, Germany, builds and operates machines to produce art.
Amazed and inspired by the constantly expanding possibilities of applied computer science and technology, Henke explores new territories between musical composition, performance and installation. Alongside diving deeply into aesthetic concepts, the creation of his own instruments and tools is an important and integral part of his artistic process.
His works are concerned with volume, power and impact, the tension between silence and noise, darkness and light, and about the exploration and manipulation of real and virtual spaces. They expose carefully shaped details and gradual changes of repeating structures in different time scales.
Henke is a pioneer of multichannel sound, using methods and systems like wave field synthesis and ambisonics to create situations of total immersion, expanding the sonic experience of his performances beyond of what can be reproduced at home.
During the last decade, Henke’s artistic explorations more and more expanded from his initial focus on music towards the field of installation, both sound based and audio-visual. His installations, internet based audiovisual performances and concerts have been presented at Tate Modern London, the Centre Pompidou Paris, Le Lieu Unique Nantes, PS-1 New York, MUDAM Luxembourg, MAK Vienna and on countless festivals.
Henke’s interest in the combination of art and technology is also evident in his contributions to the development of the music software ‘Ableton Live’. Since Ableton’s founding in 1999, he has been central to the development of Live, which became the standard tool for electronic music production and completely redefined the performance practice of electronic music.
He writes and lectures about sound and the creative use of computers, and holds a professorship in sound design at the Berlin University of Arts.
For 2013 he has been selected as Mohr Visiting Artist at the music department of Stanford University, where he will be teaching a class in computer music composition and performance.
Jack Dunning aka Untold is currently releasing some of the finest boundary pushing music around, simultaneously blasting dancefloors and attracting worldwide critical acclaim. So how did we get here?
Having produced music in a bedroom set up for years as a young 20 something, a draining stint of higher education forced him to down tools “an Electronic Music degree ruined my enjoyment of writing for ages”, Jack remembers. But these were just years of hibernation and the time to develop a career in graphic design that put food on the table. The catalyst for a musical renaissance came in 2005 after a lesson in sub bass at the then fledgling DMZ, the world’s most important dubstep night.
“It was the purity of the atmosphere and the sub bass that got me. Everyone in the room seemed totally locked on to each tune, there was a crazy energy in the place. After going to my first dance at Third Base I knew I had to start writing music again.”
Picked up in early 2008 by Hessle Audio, his Kingdom EP was the third release of the then fledgling imprint, introduced a sonic palate that was nuanced, understated but with bags of bass weight. Here were the early indicators of what was to become a fierce sonic arsenal – the mutant, blunt edges of his synth play, an intricate tapestry of detail which added depth and longevity, but barely audible to even to the geekiest of listeners.
By early 2009 Jack had been hammering a selection of awesomely anachronistic and symptomatic music on CDR; fuel for an ever growing DJ schedule. For those that were lucky enough to be caught in a rave when the awkward, staccato bleeps of Anaconda assaulted the ear drums, you knew this was an artists to take 100% seriously. Played by DJ’s spanning genres, countries and vast age groups, this 12” release on the Hessle Audio label showed the electronic world they had a new artist with a highly distinctive sound to get their teeth into.
2009 unfolded with a slew of essential remixes for 2nd Drop and Planet Mu, alongside original material on Hotflush and Brainmath. Jack’s largest body of work has been the 6 track EP on his own Hemlock label who he runs with his mate Andy. The Gonna Work Out Fine Ep was a collection of tracks that pushed the genre boundaries — this wasn’t dubstep, if dubstep was half step wobble than this was the anti-christ – and could be seen gazing off into the near future of progressive dancefloors and vinyl connoisseurs everywhere. Stilted rhythms meet, jilted synths and squashed drums with the ever-present specter of grime lurking on the peripheries. But this EP also provided an insight into Jack’s wider music palate, your can here classic house in the keys of Don’t Know Don’t Care and Never Went Away, the ravey synths of later day hardcore and jungle on Palamino. But it’s not always about looking back, exploration of bpms creates new hybrids, and the low-fi swing of No One Likes A Smart Arse demonstrates his twisted take on dark garage and the funky skeleton of Palamino offsets the aforementioned nostalgic melodies.
2010 holds further promise. Having just remixed Ke$ha’s #1 Hit “Tik Tok” and signed a collaboration with Roska to Numbers coming later in the year, more releases on Hemlock of his own material is a given. Jack continues to show his A&R spurs with the likes of Mount Kimbie, James Blake, Cosmin TRG and Ramadanman gracing the label.
Dopplereffekt are the mysterious duo originating out of Detroit fronted by Gerald Donald (Heinrich Müller / Der Zyklus, Japanese Telecom, Arpanet as well as one half of Drexciya). Moving from their earlier electro sound into more otherworldy synth experiments, Dopplereffekt inhabit an interesting contemporary electronic world where their arpeggiated melodies and visual heavy show could just as well be suited to a seated art space as it could to a club or electronic festival stages. Littlebig are proud to represent Dopplereffekt exclusively as they prepare for a release this summer – their first in 6 years.
“Gesamtkunstwek” – Clone Classic Cuts (2007)
“Calabi Yau Space” – Rephlex (2007)
“Linear Accelerator” – Int Deejay Gigolo (2003)
“Myon-Neutrino/Z-Boson” – Int Deejay G (2002)
”Scientist Mixes EP” – Int Deejay Gigolo (2001)
“Scientist EP” – Int Deejay Gigolo (2001)
“Gesamtkunstwek” – Int Deejay Gigolo (1999)
“Sterilization EP” – Dataphysix Engineering (1997)
“Infophysix EP” – Dataphysix Engineering (1995)
“Cellular 7-inch” – Dataphysix Engineering (1995)
“A rare live techno act whose epic sets rival DJs in variety and duration … [The End of Reason is] a truly sublime beatless tour de force that recalls Philip Glass, Aphex Twin’s most serene moments and even Henryk Gorecki’s Symphony No. 3″ — Resident Advisor “Beautiful, hypnotic techno that should be listened to by anybody with even a passing interest in intelligently geared dance music” — Electrorash Control, humility and precision — emotion, release and catharsis.
There’s two sides to Max Cooper. The public side is known for extended festival sets — a hybrid live/DJ performance that explodes from delicate, reflective electronica into abrasive noise within a moment, but just as fearlessly throttles back to moments of stillness and silent beauty — within the same track, across three or four hours of playing, or within the space of a couple of expertly chosen samples. What others producers see as an unbridgable chasm between different styles, BPMs, approaches, instruments and feeling, Cooper views as a single musical toolbox, with every tool is at hand to a producer who’s been playing out for 15 years.
The private side of Cooper, meanwhile, is the humble scientist, the producer who works while others network, who is more influenced by modernist classical than dance-music trends, and who introduces new releases on his facebook with the self-effacing “I hope you enjoy this one!” Despite the affirmation of being made a Beatport artist of the year 2012, voted one of Resident Advisor’s top 20 live acts, and having, for influential US electronica site XLR8R, a top 10 most-popular podcast and single download, as well as two of its most popular videos, Cooper still feels at the start and not the peak of his artistic ambitions. There are more collaborations with visual artists to come, his debut album, a series of musical pieces inspired by contemporary art, his contribution to the FIELDS liveelectronica label and tours — all part of his calling to fuse the gospel of science and rationality with the excess and exuberance of the most creative electronic music.
Blame that on Cooper’s background. Raised in a town outside Belfast, Northern Ireland, as a child Cooper was sent to a Steiner school — the only mixed-religion school in the neighbourhood, but also one that pushed its pupils to be free spirits: independent and questioning, reflective and self-disciplined. And that’s how, first DJing local student club Firefly during his university years in Nottingham, he simultaneously managed to earn a PhD in computational biology (genetics) and produce his first tracks. And how, while stacking up the hours as a genetics researcher for University College London, he wrote his first significant releases for German techno label Traum Schallplatten: the trilogy of “Serie” EPs, each taking a different scientific concept as inspiration, both musically and in the collaborative animated videos he commissioned from Andrew Brewer / Whiskas fX.
Having retired his research job in 2010, Cooper is now established as one of the UK’s most intriguing, prolific electronic acts. There’s now eleven commissioned experimental animations with filmakers like the UK’s Nick Cobby and Whiskas fX, France’s Cedric De Smedt, Russia’s Dmitry Zakharov and Italy’s Vicetto, to accompany his music — and a fanbase that regularly offers up its own own visual take on his tracks. There’s a heavily trafficked podcast series that includes two seminal mixes for Resident Advisor and XLR8R, John Digweed’s Transitions show, the upcoming launch of the Magnetic Mag soundscape series, in which Cooper will release music inspired by the his favourite architectural space; Cooper’s research efforts with the staff of noted music-software house Liine; and his back catalogue of nearly 60 original tracks and remixes … With all this, Cooper has pushed beyond his early apprenticeship as a 4/4 techno producer to become something new and unique in the electronic landscape.
As known now for visual experiments as his yearning and emotional reworks of huge acts like Au Revoir Simone and Hot Chip — and his more glitchy, experimental approach to working with traditional orchestral composers like Olafur Arnalds and Nils Frahm and rising Planet Mu-style mentalist Vaetxh — Cooper continues to evolve, absorb new influence, and change the rules for who electronic artists should work with, and how. The first producer outside of Richie Hawtin’s Minus Records family invited to join Hawtin’s prestigious booking agency, Clonk, he’s also the first musician ever allowed to rework the music of Michael Nyman, seminal minimalist and one of the world’s most identifiable soundtrack composers (The Piano, Gattaca).
With Cooper, there’s contrast, and also unity. A reserved, clinical producer who’s known for the emotion and melody of his music. The writer of delicate soundscapes for the female voice who quietly slipped out an EP of pounding snare rolls called Mechanical Concussion. A remixer of blog bands like MMOTHS, Halls, BRAIDS — and a go-to remixer for techno labels like Herzblut, Bedrock and artists like Bodzin, Romboy and Agoria. A minimalist who likes to relax with a bit of hip-hop scratching and turntablism — and who is working on ways to use turntablism to operate other electronic instruments. A live act known both to be both naggingly hypnotic and blisteringly tough.
A blend of science and feeling, risk-taking live performance and polished musicianship — in 2013, Max Cooper looks ready to become one of the biggest acts in the electronic world.
Austrian guitarist, composer and electronic musician Christian Fennesz is recognized as the key figure and one of the most distinctive voices of electronic music today. His wide international reputation has been consolidated through a substantial overall contribution to the new musical expression.
In the beginning of nineties Fennesz became involved with Viennese techno scene. From the very beginning, he was displaying talent for composing and developing his own sound world and the distinctive idiom made possible by technology. Although Fennesz has been educating formaly since an early age, first in guitar later in ethno-musicology, he decided to look for his own musical goal in the world where he could belong, expressing himself as a composer and performer. He maintained guitar as a dominant musical source changing the conventional usage and features by plugging it into laptop. Combining these musical tools as well as developing his own style in transforming and processing it, Christian Fennesz managed to create a specific expression and sound world that is difficult to mistake for another. On the first full-length solo release Hotel paralel.lel (1997) for Viennese Mego he had introduced mix of analog and digital, the blend of raw textures and twisted guitar sound. The album had been awarded with Prix Ars Electronica for Distinction for Digital Musics. Two years after the first one, the second album entitled Plus Forty Seven Degrees 56′ 37″ Minus Sixteen Degrees 51′ 08″ was released by Touch. Milestone of Fennesz’s career, the third album Endless summer (2001, Mego) is acknowledged as one of the most important releases of the decade that helped changing of perception and position of electronic music today. In the times when composers of improvised and experimental music had tended almost to negate basic musical components, Fennesz has given significant place to melody in his own pieces. Growing unexpectedly into the music, the melody is delicatly appearing beneath (or on the top) of shimmering electronic sound often described as symphonic for its enormous range and complex musicality.
In 2004 Fennesz presented album Venice where he brought to the full extension combination of ambience rich sound textures combined with pop-song elements — started from the most obvious one as track length, to the more hidden as structure itself. The last solo release Black sea (2008) has proved to be bold step towards experimenting with longer tracks that tend to fuse or to be perceived as a complex structure, outlining and constructing sonic space without necessarily filling it with musical narrative and predefined concept.
Within last ten years, Fennesz had made collaboration with many other musicians as well with authors whose creative field stretch form video art and film to dance. These encounters of diverse poetics had resulted with numerous stage performances and number of exceptional studio releases. He had been recording and performing with Ryuichi Sakamoto, David Sylvian, Keith Rowe, Mark Linkous (Sparklehorse), Mike Patton and many others. Fennesz has also worked alongside Peter Rehberg and Jim O’Rourke in the improvisational trio Fenn O’Berg.
Norfolk born and bred heir to the UK electronica throne Nathan Fake has kept fans of fuzzy-edged synths and pounding acidic techno beats alike guessing ever since his debut release at the tender age of 19. And now, having just reached his 29th birthday milestone, he is back with exuberant new album main event ‘Steam Days’, a breathtaking landmark on Nathan Fake’s road to musical maturity which Nathan has rightly branded his “best work to date”, oscillating effortlessly between both ends of the electronic spectrum to reprise both the soothing melodic indulgence and heavy dancefloor assault of his albums of yore.
And although a career that has been characterised by such deftly-executed electronic versatility may to the outsider appear chameleonic, schizophrenic even, one thing has remained constant throughout his decade at the electronica coalface: a very real sense of the artist behind the machines, no matter which production hat Fake may currently be sporting.
It was during his upbringing in the rural English county of Norfolk that the first tell-tale signs of Nathan Fake’s artistic idiosyncracies began to reveal themselves. When an early course of piano lessons threatened to stall at the abstract first hurdle of learning to read music, the young Nathan instead took on the much more daunting task of memorising by ear with the aim of recalling during practice sessions at home, with considerable – and surprising – levels of success. His induction into the electronic arts would come a little later care of his elder brother’s Orbital tape cassettes, their unashamedly euphoric melody lines likewise effortlessly assimilated by Nathan, providing a welcome lead to play along to on his junior Casio keyboard (little did he know that years later he would end up supporting those same Orbital brothers on their 2012 comeback tour!). And to this day, Fake retains an ability to recall, deconstruct and replicate music that is damn near pitchperfect, which has come to him via this altogether natural and entirely unstudied route.
This enviable raw, innate musical ability was given a cursory polish when Nathan left his sleepy Norfolk village of Necton at the age of 18 to commence an HND in Music Technology at Reading College of Art & Design, although Fake would end up dropping out before graduation when his musical career suddenly took off of its own accord – and in grand style. His debut 12” release — the Boards-of-Canada-do-techno of ‘Outhouse’ — came care of UK producer-cum-DJ James Holden’s Border Community label in 2003 (the fledgling label’s second ever release), making serious inroads on the dancefloors of Europe. Following hot on its heels came that inimitable (though far too many have tried!) James Holden remix of Fake’s ‘The Sky Was Pink’, confounding all expectations to notch up 12” sales approaching 20,000 at a time when people were already queueing up to ring the death knell for vinyl. The Nathan Fake name thus found itself stamped all over a bonafide modern dancefloor classic, its soaring fake guitars reaching out into the realm of universal consciousness, somewhat inescapably cementing Fake’s club reputation in the process.
But Nathan’s brief spell at Reading College would not go entirely to waste: his course-based explorations of the influence of electronic music on rock and pop production would eventually lay the foundations of his 2006 debut album ‘Drowning In A Sea Of Love’, a melody-rich sweep of shoegazey rocktronica further in the vein of Fake’s epic, psychedelic original version of ‘The Sky Was Pink’. This endearing collection of warm and fuzzy juvenilia translated effortlessly into fullyfledged home-listening album material, making good on the promise shown by his early dancefloor incursions to see through the transformation into grown-up professional worldwide touring and recording artiste, thereby pulling off a feat that most of his then-peers could only dream of as his music broke out of the dance music ghetto to spin off into the record collections of album-buying music lovers the world over.
If his harder-edged 2009 stop-gap mini-album follow-up ‘Hard Islands’ then came as something of a dramatic departure to this new army of home-orientated listeners, the process by which it came about was for Nathan an entirely smooth and natural one. As his extended album tour gradually gave way to the never-ending stream of requests from the techno clubs where he first made his name, various ‘Drowning In A Sea Of Love’ era tracks were beefed up to complement his emerging new material. Evolving gradually in the context of his live performance before finally being pinned down to a fixed recorded form for their official release, these sweaty shirts-off ‘Hard Islands’ jams bear the influence of his experiences at dance music’s front line, infusing them with an increasingly musically ambitious cerebral edge and a reactive response loop mechanism that leaves them even more optimised for maximum dancefloor impact than ever before.
“Playing live a lot has had a profound influence on the way I make music now,” Nathan explains. “It’s all quite improvised and I actually formulate a lot of my arrangements while I’m playing live. I use loops which I can put in depending on the mood, its all free form.” And the resultant Nathan Fake laptop live show is a much more intense, physical and visual experience than one has traditionally come to expect from the one man genre, wherein Fake fits and jerks his way through an unstoppable hour long assault with incredible focus, elbows flailing and body contorted to impossible angles as he throws the noises at his enraptured audience.
The almost autistic musical aptitude and incredible feats of memory of Nathan’s childhood also continue to inform his modern-day studio productions, as he wrings his astounding results out of the limited palette of a PC and millennium-era Cubase 5 software thanks to his encyclopaedic knowledge of every little detail – bug, quirk, malfunction or bonafide built-in feature — that lurks inside his chosen tools. “My approach to making music, physically and mentally, has actually changed very little over the last ten years,” he maintains, somewhat surprisingly. “I like to keep the technical side of things as simple and familiar as possible.” For Nathan, this absolute and complete mastery of a limited set of tools is essential to ensure the rapid, visceral translation of instinctive ideas into jaw-dropping musical reality.
The method behind the madness may barely have altered, but as we fast forward to 2012’s ‘Steam Days’ update of the Nathan Fake musical manifesto we find Nathan increasingly concerned with a new process he describes as “erosion of sound”, whereby an unpredictable organic layer of postprocessing is added to the otherwise pristine and all-too-ubiquitous products of computer-bound digital soft-synths. “The last two records sound really clean to me now,” Fake explains. “This one has the perfect amount of grit in it, I think. I’ve put a lot of time into finding different ways to erode sounds, to make them sound wooden and earthy instead of plastic and metal.”
The unconventional low-tech hotch potch that makes up Mr Fake’s idiosyncratic home studio thus combines the analogue richness of a rag tag collection of cheap drum machines with the infinite power and possibility of his trusty PC’s digital audio editing capabilities, all of which is flattened and unified through the crucial final step of recording to one of his beloved vintage home cassette players. “The way a cassette works when it records stuff is pretty unique,” Nathan explains. “You can get plugins but you can never really get the same results unless you use real tape.”
The resultant ‘Steam Days’ album artefact is the considered response of an artist coming of age, drawing upon that self-same characteristic individualism to reach maturity in the full glare of that special kind of musical infamy that comes attached to an insiduous club hit. A document of “everything that’s gone on in my head for the past two years”, the ‘Hard Islands’ techno tantrum of Nathan’s mid-twenties has clearly now abated, giving way to a sophisticated organic blend of propulsive percussive body and warming pastoral bliss that effectively distills both sides of his fractured musical personalities into a delightfully varied transformative trip.
Long after his post-college move to the big, bad city of London, Nathan’s rural upbringing in the Norfolk village of Necton continues to bring its influence to bear on his music, his pastoral roots weaving their way through harmonious washes of synths and folky refrains, and running deep into the mythology of his track titles. Farm fresh floorfiller ‘Iceni Strings’ is a nod to ancient Norfolkdwelling Celtic tribe the Iceni, whilst local villages ‘Bawsey’ (outdoor swimming spot where the teenage Nathan once narrowly escaped drowning), ‘Neketona’ (the Anglo-Saxon name for his childhood village home) and ‘Castle Rising’ (surreally-named sleepy Norfolk hamlet) all represent personal landmarks in the Fake family folklore. Likewise the insistently anthemic ‘Harnser’ takes its name from his father’s handyman company, itself named after the local Norfolk word for “heron”. “I’ve got a really strong connection with the place I grew up in,” Nathan declares. “Norfolk will always be my home, even though I don’t have one there any more.”
“London is also my home, but I still don’t feel like I totally belong here,” he continues, having adopted the British capital as centre of operations for his current campaign of touring and remixing (his string of illustrious credits includes none other than Radiohead, Domino’s production young buck Jon Hopkins, Warp’s PVT and Clark, and labels like Ninja Tune, DFA and Lone’s Magic Wire). Though he often ventures beyond the walls of his home studio to embrace the full throb of the city’s ever-shifting musical landscape, every now and then a wistful eye is cast back towards his long since sold family home in Norfolk, and Nathan somehow never quite manages to shake off that nostalgia for good times gone by encapsulated in his ‘Steam Days’ album title. But torn as he is between town and country, between dancefloor hedonism and home-listening introspection, the lone figure of Nathan Fake together with his third album opus ‘Steam Days’ serve as living proof that these seemingly polar opposite worlds don’t have to be mutually exclusive.
Cristian Vogel is a composer, music producer and multimedia artist specialising in experimental electronic music, club culture and sound art.
Over a 20 year career at the vanguard of european electronic music, he has been acknowledged for blue printing the “minimal” and “wonky” techno music styles back in the mid-nineties, as well as outstanding work in the field of avant-garde composition for contemporary dance, film and sound art.
He currently lives and works in Berlin.
Frank Bretschneider is a musician, composer and video artist in Berlin. His work is known for precise sound placement, complex, interwoven rhythm structures and its minimal, flowing approach. Described as »abstract analogue pointilism«, »ambience for spaceports« or »hypnotic echochamber pulsebeat«, Bretschneider’s subtle and detailed music is echoed by his visuals: perfect translated realizations of the qualities found in music within visual phenomena.
He is releasing his music and performing at music/new media festivals worldwide.
Bretschneider (1956) was raised in Karl-Marx-Stadt (Chemnitz since 1990), where his aesthetic developed as he listened to pirate radio and smuggled Beastie Boys tapes in the former East Germany. After studying fine arts and inspired by science fiction radio plays and films he began experimenting with tape machines, synthesizers, and modified guitars in 1984, as well as exploring the possibilities of exchange between visual art and music by various means such as film, video and computer graphics.
In 1986, after establishing his cassette label klangFarBe, Bretschneider founded AG Geige, a successful and influential East German underground band. Though limited to the East before the wall came down, they were invited to perform across Germany and internationally after 1989 and released three albums before splitting in 1993.
In 1995, Bretschneider and fellow AG Geige member Olaf Bender founded the Rastermusic record label which eventually merged with Carsten Nicolai’s noton to form raster-noton in 1999.
Most of Bretschneider’s early solo albums — about half a dozen — were under the alias Komet, the first, SAAT, appearing in 1996. Since then Bretschneider has released his work (in addition to raster noton) on various labels including 12k, Line, Mille Plateaux or Shitkatapult, and contributed to some well-known compilations like CLICKS & CUTS on Mille Plateaux and raster-noton’s 20′ TO 2000 series. 2001’s CURVE, his second album for Mille Plateaux, was critically acclaimed and brought Bretschneider international attention. Followed 2003 by GOLD, raster-noton’s most blatantly pop album by then. GOLD, however, was topped by the percussive masterpiece released in late 2007, RHYTHM, an album that was rated very highly by several major electronic music publications, notably »The Wire« magazine, who put the album among their top releases of 2007. 2010 saw the release of EXP, a rather complex and abstract audio-visual work and his 2012 album KIPPSCHWINGUNGEN explores the sound of the Subharchord, a unique electronic instrument based on subharmonic sound generation. With 2013’s AUXILIARY BLUE for Danish label Dacapo — a collaborative work with composer Ejnar Kanding — Bretschneider enters the territory of new contemporary music.
SUPER.TRIGGER his latest album for raster-noton and an absolute trove of percussive tensions will be out in July 2013.
Phon.o, the boy with the dot in his name and the dubby background, started to play records with his buddy Apparat in the early 90s far in the darkest reaches of the ruff’n’tuff Harz mountains, in former East Germany. 1997, seeking new and bright horizons, our boy moves to beautiful Berlin and is given the keys to his first apartment: a dingy shoebox which even the Russians had left unoccupied during their stint in Berlin.
During the wet autumn of 1998, he started to create his own music and emerged in the spring of 2000 with his first release on Cytrax (Kit Clayton and Dj Jasper’s itchy, noisy, dubby Californian Techno label). Phon.o then found himself “misled, used and abused” by the notorious big Rock’n Roll swindler, T.Raumschmiere, who connives him into joining his gang Shitkatapult. Fire does take its toll on those who wield it and Phon.o eventually realized the need for an image change. He enrolled in the Kunsthochschule Berlin (KHB) in the fall of 2000 and began studying Communication Design. As a next chapter Chris De Luca and Phon.o joined forces in spring 2006. This unconventional combination of intergalactic Hip Hop, Ghetto Beats, sexy booty IDM and dirty Techno goes beyond typical contemporary genre boundaries. In 2008 the results of CLPs dirty collaboration got released as the EP Ready Or Not on Boysnoize Rec. including remixes by Diplo and Mixhell and as an eclectic, genre blending Hip Hop album called Supercontinental on Shitkatapult. In 2009 the boys did not take a rest while worldwide touring and kept on releasing. Following CPL Phon.o — in search for his next sound — did remixes for the likes of Modeselektor, Boys Noize, Schlachthofbronx and Robot Koch.
In 2011, Phon.o started to release on Modeselektor’s 50 Weapons label with a new sound somewhere between the grooves of UK-Funky and Dubstep and the classic Berlin Dub-Techno school of Basic Channel/Hardwax. For many Phon.o has been producing some of his dopest material just now. His 2 singles in 2011 have been compared to the best moments of Burial and expectations for his debut album “Black Boulder” are high.
Traversable Wormhole is one of two live projects of Adam X and his most popular project to date. After its start in 2009 as a series of anonymously produced ink stamped vinyl that stirred the global techno scene with its mysterious guise, the project quickly received huge support from many of the world’s most renowned techno shops and globally respected DJs.
Traversable Wormhole tracks have been remixed by some of the best in the scene and released on Chris Liebing’s imprint CLR and Traversable Wormhole Records.
The sound of Traversable Wormhole is a unique sci-fi laden techno with gaps of time, space & bass in between sound & rhythm. Following the successful compilation of the first five Traversable Wormhole 12″ releases in 2010, the most recent release “Traversable Wormhole Vol 6–10″ on CLR has just arrived, a full length mix of 10 tracks put together by Adam X himself.
Dasha Rush is Russian born, but actually she is a citizen of the world.
Combining her activities as a techno producer and dj with multi-artistic collaborations alongside artists and dancers, Dasha Rush brings up a mixture of rather rare techno electronic experimentations, and synthesized sounds more akin to the brief movement of underground music. Roots of such sounds partially go back to the early 20th century and rise to significant Art Movements to this day.
Dasha likes to push the boundaries of contemporary dance to the limit, encourages experimentation with various musical (and non musical) forms and assembling into deep, slightly dark, and very emotional artistic way of expression. In her strange and twisted world the machines are the protagonists of a neo-romanticism, weaved with human dreams.
Dadub project is an electronic music duo formed by Daniele Antezza and Giovanni Conti, focused on the production of electronic music that mixes IDM, dub and techno influences.
Our aim is to go beyond definitions and commercial stereotypes associated with techno and electronic music, showing on the dancefloor a sensitivity and an aesthetic approach usually related to experimental music practices.
The project was originally set up in 2008, in Murgia (South Italy) by Daniele Antezza, debuting on the label Aquietbump with a collection of electronic dub songs revolving around mid-tempo pace. In 2009 he moved to Berlin, and joined by Giovanni Conti they transformed Dadub into a duo, shifting the musical direction from pure dub into more experimental territories, becoming one of the core artists of the label Stroboscopic Artefacts, and working on the post production and mastering of all the releases of the label.
Dadub debut on vinyl, “So the nothing grows stronger remix”, was released by Stroboscopic Artefacts in March 2010, hosting on the other side of the record the techno pioneer Luke Slater: De:bug reviews Dadub track as “Berghain sound of the forthcomings months”. Feedbacks have been excellent: enthusiastic reviews on De:Bug and Clash Magazine and appearances into important Podcasts and DJ charts (Chris Liebing, Lucy, Xhin, Walter Ercolino, Phlow.de, FWD.DJ, Blindspot, etc…)
Besides Dadub project, Daniele and Giovanni estabilished a mastering and audio post-production studio, Artefacts Mastering, forging the sound of several european record labels: Stroboscopic Artefacts, Parquet, Meerestief, Lineal and many others.
The duo is actually working on new tracks to be released in the upcoming months, and will tour Europe in the next months. Aside from EP for digital and vinyl formats, Dadub is working on a fulllength album to be released in 2012 by Stroboscopic Artefacts.
HARD TON are the Italian duo with a larger than life disco sound and a surprising love of metal. Fused together in 2008 from the musical loins of DJ Wawashi and heavy metal singer Max, Hard Ton met online through a site for hirsute loving — though very quickly it became clear their relationship was to be based on a mutual love of music.
Finally meeting in person at a party in 2009, over some cherry wine and musings of future hopes and dreams, they solidified their vision. Sylvester-styled falsettos conjure up memories of smoky dance floors during the heady days of Hi-NRG, which combined with a contemporary sound of accelerated beats and screaming acid bass lines, shows a nod to the past can result in a slap across the face for the present. Using analogue and vintage gear, from the 303, 606, 707, Oberheim DMX, Korg Monopoly, MS20, Prophet 5, the music is as organic as synthetic music can be, their equipment living and dying by its own unpredictable rules.
Anklepants aka Reecard Farché is a live electronic music machine. From deep in the australian bush comes a nice exotic shapeshifting convict with no face for one genre.
The Exoslkeleton supporting Reecard Farché is creature / special effects artist Joßhüa Héad. Anklepants is a perfect specimen. His eyes, nose, face and mouth are perfect.
A concoction of knowledge of music , character design, creature effects and animatronic control. Anklepants was born in 2008. This project is prominently electronic music, using a vast array of audio hosts and hardware instruments / synthesizers, also including guitar, oud, voice, animal sounds, any sounds, field recordings and custom electronic instruments, physical computing / controllers / microphone bent and mutated toys.
info coming soon…
BILL YOUNGMAN is hell of a producer. Although mostly known for his techno releases on labels like Scandinavia, Tresor, Null etc., Bill has from day one been producing a lot of excellent other stuff. For example, he released one album of the finest electronica on DEPTH CHARGE’s DC Recordings under the alias AUDIBLE, several great EPs of electro on Serotonin and recently remixed JAMIE LIDELL in a rather techy dubstep style for Warp.
Bill doesn’t follow trends and dislikes being categorized into one stale genre and so perfectly fits into the KILLEKILL master plan.
Expect several EPs from him on KILLEKILL in the future that will further display the wide range of styles he is interested in and loves. With all this in mind, Bill will furthermore attempt to push the threshold of modern electronic music production.
Eomac is one half of Dublin based duo Lakker, but is also a DJ and producer in his own right. His eclectic style is reflected in both his productions and his DJ sets — expect anything from blistering techno to haunting 2-step to the darkest depths of dubstep and back again.
This year will see him stray further afield with a forthcoming 12” on Berlin based imprint Killekill, backed with a remix by Stroboscopic Artefacts boss Lucy, a free EP under a new alias (EeOo — http://eomac.bandcamp/album/eeoo-angel-ep), remixes for Boy Scout Audio and Acroplane, and the revival of his mix series — a mix uploaded every month for the entire year. DJ support has already come from Cassegrain, Damu, DJ Flush, Wen, Blackdown, Lucy and none other.
Pharoah Chromium is a project by german-palestinian musician and performer Ghazi Barakat and was named after a song of the band Chrome. The project draws inspiration from diverse sources: free jazz, rituals from acient past and near future, the dream syndicate, science fiction novels and neo-brutalistic architecture groups like Archizoom and Superstudio.
Soundwise it moves in waters close to the german sound of the psychedelic avant-garde of the 70’s as well as early industrial bands of the early 80’s.
He has released his first double lp “electric cremation” and contributed to the imaginary soundtrack AZURAZIA for Grautag records, the label of french contemporary artist Nicolas Moulin.
In the near future he will release material with Günter Schickert, with whom he has been performing live since 2012. Pharoah Chromium wears a golden Mask and his live performances can be considered a bizarre space ritual in which he plays an assorted choice of flutes and electronica…
FURFRIEND is everything you never dared to sex about. From the depths of warm and tight cavities come the two fuck pets DINGO TUSH (vocals) and DAS UBERDOG (production) be it the pleasures of gay circuit life or the sweet feel of sheep in their best years — FURFRIEND covers it all and more.
The techno duo doesn´t know their origin exactly — their memories go back to dark but also jolly times at an animal shelter in antwerp where they were kept until MUM, their recently deceased fostermother picked them up, to have them join her 21 other pets. It was a hard childhood, not even knowing what type of mammal you were, but the toughest part was being relentlessly used by ´MUM´as a sex slave, having to fulfill all her sexual desires in order to get a bit of food.
Then the confusion that arose when MUM was killed having sex with her oldest aquisition ‘Bob’ the german shepherd who couldn´t take it anymore and ate her face — the poor guy was put down right in front of their face. Now, being freed from the clutch of MUM Furfriend look into the bright future of being popstars, knowing this is what they were born to do.
DAS UBERDOG has been listening to MUMs records on headphones ever since he found the power switch for the stereo — it was clear back then he would become an awesome producer. DINGO TUSH, the singer of the duo, howled the melody of ‘my favourite things´when MUM was watching her favourite show: ‘The sound of music‘ — they were clearly bound to become a music production team. It just had to happen eventually.
These times are long past now, but they have left a mark on their souls which they heartbreakingly sing about in songs like ‘GECK’ ‘FIST FUCK’ or ‘SHEPHERD’ which relates to the tough life, herding sheep just after MUM had passed away.
Originally based in Antwerp the duo has now made a move for berlin.
“Antwerp was just not the right place for us. As much perversion as there is in belgium, it is the people of Berlin we love for the open sexual deviance present all over Berlin We think this is the right breeding ground (haha) for our art.” says DINGO TUSH, the band´s cockslinging singer. Techno just has a different meaning here — everybody does it, spit in a corner, and you’ll hit a dj! This is perfect for us because it shows what people really want. and we are here to give it to them.” adds DAS UBERDOG, the musical genius behind the furfriend productions.
Adam Weishaupt aka Holger Hilgers is a DJ and promoter based in Berlin. Born 1976 in cologne he discovered his fascination for the sounds from sappers of electronic music. At some point he started to mix his own tapes for his first parties to the point when he discovered his passion to collect albums.
With arrangements in whole germany and all over europe he built up a reputation as a DJ, further he gathered experience internationally with an amazing mix of techno and idm. He combines individual music to create new views, to break limits and open up new rooms. He believes in the capability of music to originate a communication just by listening and sensing. Holger also managed the “DELIRIUM-BOOKING” agency with artists like OTTO VON SCHIRACH, NEIL LANDSTRUMM, TOBIAS SCHMIDT to name but a few. he organizes the “KRAKE-FESTIVAL” with DJ FLUSH in Berlin
DJ Flush aka Nico Deuster has been a dj for 15 years now pushing the borders of electronic music: from chicago jack and booty tracks to electro, from distorted no future sounds to rather minimal funk — dirty, freaky and often with a big drop of acid.
DJ FLUSH played al most of the relevant clubs in Berlin as there are OstGut/Panoramabar, Tresor, Maria, WMF, Watergate and with THE ELECTRIC FORCE, SWEAT & ERROR and FREAKED he has been promoting party nights that are renowned for presenting some of the freshest and most upfront music to the audience every time. Daniel Bell, Cristian Vogel, Ark, Roman Flügel, Neil Landstrumm, Frankie and many others were playing there. Since June 2008 he has started the Killekill Club at Berghain Kantine which by now has become a Berlin legend. Strongly connected to the scene DJ FLUSH has also been rocking many non commercial underground locations all over Berlin and Germany as well as international clubs in Poland, France, Sweden, Netherlands, Belgium, Turkey, Mexico and so on… With his own productions DJ FLUSH has also far contributed to some compilations on Shitkatapult and Musick To Play In The Club.
No space for posing or attitude — it’s all about music!
Berlin based AXIOM started playing electronic music in the 90s. The biggest impact on him in that time after a still rooted Hip Hop period was Techno and Electro (the real Electro deal!).
He never was that guy who goes with trends and wasn’t willing to put himself into the spotlight by playing the newest (and in most cases disposable) records; he never wanted to play the game that way. It was never about the person playing but the music itself. Therefore, he never stopped checking out record stores, digging for stuff with distinctive timeless quality. With his well-balanced taste and also well-executed dj-sets (containing timeless classic and unknown wonders) Axiom started, unwillingly, to leave a distinctive mark.
In the early 00’s, experimental sounds became the gravitational point of his musical interests. Electronica, IDM and Ambient, stunning new grooves and feelings for harmonics took place in his approach for bringing high-quality-dancemusic to the audience. Together with Dubstep (alongside Wonky, Glich-Hop — taking him a bit back to his Hip-Hop roots and other distinctive genres), which plays a very special role in his work as a DJ too, he had the tools for structuring Dj-sets that should not only entertain but to educate and refine audience’s taste all around.
In 2006 he wanted to widen his view of what music is, especially the experimental electronic-music-scene by providing interesting music without putting it under pressure of the all-digesting and redigestive music market. So he launched with HURON the Creative Commons-based netlabel CRAZY LANGUAGE for contemporary electronic music such as Ambient, IDM, Electronica, Glitch etc. After the first release featuring his buddy HURON, almost 40 EPs and Albums were published for free download, containing outstanding artists like RANDOMFORM, ATMOGAT, PLEQ, FM CONTROL, FRANCISCO GODIKINHO aka XZICD and many more.
Without much passion and spirit the label wouldn’t work as it does. Exactly the same passion and spirit AXIOM is showing when working on new releases as well as when DJing in the clubs. Beyond his label and his spinning-records deals, he is working with KILLEKILL BERLIN, helping to run parties, specially on the genres he grew to love, showcasing this way, the other side of the self-imposed minimal style Berlin had for many years. Alternative music experience to the masses!
The Apron Controller
The Apron Controller (formerly known as Monty) is a young talented DJ from Berlin and part of the collective VRU Berlin. He has a love for UK funky bass stuff and real techno, so the range of his mixes are varying between floating and hardness. He’s supported massively by his mates Modeselektor, Phon.o, Cosmin TRG, Jackmaster (UK) and the Shitkatapult Crew.
Prokoyon is an experimental project by Berk Offset and Adam Weishaupt, which is inspirated by the recondite science fiction literature of Stanislaw Lem. Deep in the universe you can see six bright stars surrounded by a ring.
Offset and Weishaupt will take you there with a mixture of space odysseys, fictional adventures and drones, which is the main language of this astronomic union. Be part of this trip and learn new forms of communication. And some day, when you are visiting Prokyon or Sirius, you will be abled to say more than just “can i have a beer” or “which is the fastest way to Aldebaran”?
Offset and Weishaupt will take you there with a mixture of space odysseys, fictional adventures and drones, which is the main language of this astronomic union. Be part of this trip and learn new forms of communication. And some day, when you are visiting Prokyon or Sirius, you will be abled to say more than just “can i have a beer” or “which is the fastest way to Aldebaran”?
Until this very moment Berlin based Christin & Ultraviolett can be considered as DJ, promoter and dancer — yes.
She got first turntables in her early teenage days, has her 15th anniversary and since then she spins regularly at quite versatile party, arts and culture events.
“all we like”
Christin & Ultraviolett likes for example Abstract HipHop, Baile Funk and beats at all – melody arrive through fragile Electronica. When she’s in the mood this all is mixed up with weird traditional asian music or melancholic 80s songs or whatever she like temporarely. She calls it or Abstract Pop or Weird Ambient Disco then.
“sometimes it’s a four to the floor thing, baby”
Ultraviolett solitary is mainly attracted by bass and dry rhythm — that might have to do with her Strictly Rhythm teenage days, her columbian father or it’s simply because of the warm honesty of reduction. The styles vary from House, Detroit Beatdown to bouncy Techno productions. To make it short: her club set kicks ass i an intelligent way.
Rhythm, bass and clicks - House goes abstract micro rave galore (but never beyond 124 bpm)!
She spinned parties with Magda, Cassy, Miss Dinky, Zip, Tobi Neumann, Peter Grummich, Tanith, Tony Rohr, Troy Pierce, Kid606, Console, Monika Kruse, Mijk Van Dyk, Märtini Brös, Steve Bug, T.Raumschmiere, Gudrun Gut, Barbara Preisinger, Apparat, Chica Paula, Tama Sumo, Ada, Burnt Friedman & Jaki Liebezeit,…
Her influences are Theo Parrish, Ricardo Villalobos, Daniel Bell, Sutekh, Dabrye, J Dilla, Matmos, Kate Bush and Sonic Youth.
Karl Marx Stadt
KARL MARX STADT is a diverse electronic music project of Christian Gierden which was originally born as a one-off in 2001. During the late 90ies, Gierden reached international acclaim as part of the Society Suckers with “complicated dance music” full of frantic beats, pop cultural samples and general mayhem. KARL MARX STADT channeled his quieter, more melodic productions from that era on two releases in 2001 and 2005 on Berlin’s now defunct LUX NIGRA label and in 2011 on SOZIALISTISCHER PLATTENBAU.
Gierden’s fascination and talent for melodies has always been apparent, but gained even stronger prominence as he turned to analogue production techniques, dub and skweee. He recently released the first release on his own label, KARLMARXLAND. Strong in concept, visualization and cheese factor ™. You are about to witness not only the birth of Germanys Skweee scene, but the birth of a place that we can always count on — welcome to Schunkelfunkel Glitzerflitzer heaven, smile style.