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Businessman Offers €100 On Craigslist To Get Into Berghain


A mysterious pair of “successful entrepreneurs” have turned to Craigslist Berlin’s temporary jobs page offering €100 for guaranteed entry into Berghain and other Berlin nightlife hotspots.

Thanks to a brilliant find from Levon Vincent, who earlier shared the post via his Facebook page, the “around 30″ pair who don’t have the time to “figure this shit out” for themselves are looking for a connected Berliner to provide front of the line access to “Berghain, Kater Blau, etc” and more of the cities “coolest” clubs.

The Berlin hotspot, long considered to hold one of nightlife’s strictest door policies, has been notorious for its refusal of entry for the famous or not. Recently, Felix Da Housecat went as far as to claim racial motivations behind his own refusal. Even Richie Hawtin has found his troubles with the club’s policy in the past.

Regardless, the idea that this shadowy duo’s request, especially given the unimpressive amount offered, or lack of background information (even though requested from applicants), points to it being more a case of overly eager clubbers resorting to simple, materialistic means for their own entertainment. But, should they actually be “successful businessmen”, the whole thing is much sadder. Whatever you may feel about Berghain’s door policy, its atmosphere remains rarely rivalled as a result, and precisely because of its exclusion of such suit and tie style would-be clientele. Read the entire Craigslist post below and laugh a little.

Screen Shot 2015-07-27 at 8.45.12 pm

Source: Craigslist

The post Businessman Offers €100 On Craigslist To Get Into Berghain appeared first on Deep House Amsterdam.

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Festival Report: Awakenings 2015


This year Awakenings Festival was a bit more special than any other year. It was the 15th anniversary of the legendary gathering for the best techno representatives in the industry supported by the craziest techno dedicated crowd in the world. 15 years of raving meant there must be a proper celebration for the occasion.

As usual, Awakenings had many things in store for their visitors during their two day program, which topped anything one has ever seen at previous editions of the festival. Starting from the spectacular line up that they put together, which included up and coming talents through very successful artists at present to the iconic techno legends. All of them being the ambassadors of techno rocked the Awakenings crowd to the grounds from the outset.

Moving to the general organization of the event, it is noticeable that there is some solid experience involved. It is almost a mission impossible to organize such a massive event for thousands of people without experiencing issues. Yet I can confidently say that unlike many other events I have attended, here I did not encounter any issues like never-ending queues for drinks, toilets, etc. Yet in my opinion, one of the best things about Awakenings is that it is one of the few places around the world, where one could still see, feel and participate in the real underground culture of electronic music. Describing the festival as the definition of underground culture might sound contradicting to some, since it is such a massive event for a huge number of people, and most of all heavily marketed, but I would disagree with that. Despite the abovementioned, for me it remains a place where one can find freedom and a great escape from everyday life.

Throughout both days there was only quality music coming out of the speakers at each area. My personal highlights though, included the extremely fresh and upbeat afternoon set of Luciano followed by Loco Dice, Adam Beyer and the undoubtedly king of techno Richie Hawtin, who came back on the Awakenings stage with full power since his last performance there in 2009. On Sunday, Joris Voorn hosted a stage with the finest tech house acts at the moment which kept the groove at a continuous level throughout the day. Needless to say that the MINUS stage was hard to leave as it was full of great artists delivering high quality sets.


Awakenings’ next events will take place during ADE, starting from the 15th of October, with Drumcode, Carl Cox & Friends, Joris Voorn & Friends, Electric Deluxe.

The post Festival Report: Awakenings 2015 appeared first on Deep House Amsterdam.

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GQ Interviews Berghain Bouncer Sven Marquardt

sven marquardt

Face tattoo-afficionado, professional photographer and world’s most infamous bouncer, Sven Marquardt, has given an interview to GQ Magazine. Marquardt answered elaborately on questions ranging from subjects such as East Berlin at the time of the Wall, the fetish parties at Ostgut (Berghain’s predecessor), why he only wears black and more.

Because Sven has become as famous as many of the DJs that have played the club he works for, we just had to share some of the professional bogeyman’s most interesting bits from his chat with the men’s magazine.

“Last weekend I actually wore all white at the door, to mess with everybody”

You grew up in East Berlin, and Berghain itself seems to be a very East German sort of place—it specializes in minimalist German techno, it exists in a massive East German power station. Does your upbringing influence how you look at the world?
The eighties in East Berlin was a very weird time. On the one hand, everything seemed so quiet and peaceful—you kind of forgot that there was this weird political party that controlled and governed everything. On the other hand, a couple of times a year there would be these parades where tanks rolled down the street, and all these people you didn’t recognize would be there cheering—I think they were shipped in, actually. And of course we weren’t allowed to leave the country.

I felt like we were always looking beyond the wall—what’s out there? We couldn’t actually have any of it, but we were trying to soak it up, sense what was different and new and let it inspire us. Then we’d get creative with what we did have.

So how does a professional photographer end up running the door at Berlin’s most famous nightclub?
After the wall fell, East Berlin was almost anarchistic. Companies just didn’t exist anymore. I’d been shooting for Sibylle, an East German fashion magazine, but that kind of work really dried up. At the same time, though, almost anything was possible. You could break into empty apartment buildings or empty warehouses and just do what you wanted: install a makeshift bar, open up a club, celebrate and party until dawn. It was this phenomenal, fascinating, vibrant feeling. I was completely sucked into it.

At the time my younger brother, Oliver, was becoming a big part of Berlin’s electronic music scene. He had always been the DJ at school dances—back then it was with tapes and cassette players—but all of the sudden, as techno took off, he was organizing these big parties professionally. I hadn’t been too interested in all that at first, but I needed to make some money. He was organizing a party at an old shoe store—around the block from here, actually—that would run for three consecutive weekends, and asked if I could help out. That’s how I got my first job as a doorman.

What was nightlife like after the wall fell?
Nothing was very permanent. A club would be in one place, then relocate, then relocate again. The first permanent doorman job I had was at a building called “Bienenkorb” [Beehive]. There was a whorehouse in the front and the club was in the back, called “Suicides.” At some point I started working for a party called Ostgut—it was a gay fetish party—and that moved around for a while and at a certain point moved into the power station and became Berghain. The company that runs Berghain is still called Ostgut GmbH, in fact. We still have fetish parties once or twice a year.


Do you dress differently for work than you do at home?
How I dress depends a lot more on my general mood than on where I’m going. For example, there was a time when I really loved bowties—just the way they looked against my face tattoos. So I’d wear them everywhere, even when I went to the supermarket. Right now it’s definitely about leather jackets. The one I’m wearing today, for example, is from Preach, a label based in Dusseldorf.

Where did you get those rings? The one on your middle finger…is that a big pile of skulls?
I’ve collected all my rings over the last 20 years, my necklaces too. Most of them aren’t from major fashion labels or anything, they’re just associated with personal memories. The skulls ring is from a label though, Wildcat in London.

Berghain is now associated with that sort of aesthetic—black, gothic, minimalist. If you suddenly wanted to switch up your style and start wearing pastels and boat shoes, could you?
No way! Honestly I don’t like pastels and I’ve never worn boat shoes. I’ve never once worn sneakers. My colleagues tease me about it, like hey, Sven, why don’t you dress more colorfully, so the guests will stop wearing all black? But really, black just happens to be in fashion with the new generation, too. And honestly, I think sneakers are cool. They’re just not my style. Some of my colleagues have entire rooms filled with New Balances. And last weekend I actually wore all white at the door, to mess with everybody.

So what do you tell your guys working the door to look for in the line when they decide who comes in?
It’s subjective. Only a few of my guys are allowed to select guests at the door. They have to understand what Berghain is all about first and I try to give them that foundation. Beyond that, there are no set rules. My people all have their own personalities, and you can see their sensibilities reflected in the crowd over the course of their shifts. You always want friction, though. That’s the theme in any good club: diversity, friction.

When you say you teach them “what Berghain is all about,” what do you mean, then?
I feel like I have a responsibility to make Berghain a safe place for people who come purely to enjoy the music and celebrate—to preserve it as a place where people can forget about space and time for a little while and enjoy themselves. The club evolved from the gay scene in Berlin in the nineties. It’s important to me we preserve some of that heritage, that it still feels like a welcoming place for the original sort of club-goers. If we were just a club full of models, pretty people all dressed in black, it would be nice to look at for a half an hour, but God, that would be boring. It would feel less tolerant, too.

Do you feel like the face tattoo changed the way people look at you, how they interact with you?
I’ve never regretted it. I mean, it was pretty much clear I wasn’t going to go into banking.

“How to Get Into Berghain” has become an object of fascination on the Internet. There are many sites that speculate on the many and various things one should do to get in.
First, let me say I don’t read that kind of stuff. Myself, I only started using the Internet three years ago. Up until then people had to fax me.

I’d like to read you a few of the tips that have been posted online, and get your reactions to them.
[Marquardt looks stonefaced] I’m listening.

Go early. Don’t try to cut the line. Know who’s DJing that night. Dress casually – jeans and a t-shirt is best. Don’t go in a big group. Don’t be too young. Don’t joke or laugh in line. Don’t speak in the line. Or if you must, speak German.
[Laughs, shrugs]. We’ve heard all those things too. But like I said, it’s subjective.

Source: GQ

The post GQ Interviews Berghain Bouncer Sven Marquardt appeared first on Deep House Amsterdam.

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Saent is the Magic Button To Eliminate (Online) Distractions


The former Director of Dance Trippin TV, Tim Metz, has unveiled a crowdfunding project aimed at the easily distracted.

Called Saent, is a new hardware/software solution aimed at making its users less distracted while working on computer based projects. Currently crowdfunding on IndieGoGo, Saent’s hardware comes in the shape of an external button. When pushed, SAENT launches a “focused” work session, blocking any apps or websites that you may find distracting. Each 30, 60, or 90 minute session, blocks apps and websites designated as “unproductive.” A light ring on the device will track your progress during yours focused work session with the indicator filling up as you get closer to finishing. As more focused work sessions are completed, points are accumulated and tracked in the app’s dashboard.

Saent also contains something of a social network users can follow each other, competing for points within the app.


In a recent interview with DJ Mag, Metz went in depth as to the specifics of Saent’s approach, beginning with a description of its basic functionality: “The software comes preloaded with a large database of apps, sites and their categorisations, with different settings for different professions (and this database is constantly updated). But you can easily personalise and “teach” Saent as you go throughout your day.”

So, why would Saent be useful in the dance music industry. Well, as any creative based industry, deadlines are a common reality with producers/remixers/artists constantly on the clock. With Saent’s origins stemming from the world of electronic music, which is, of course, a creative industry, Metz says, “…one user group we considered from the outset was creative people in general (designers, video editors, etc.). The product works especially well if you spend longer sessions in a few specific applications, so it can definitely work well for music producers in studio sessions.”

As if that weren’t enough of an incentive for the ADHD generation, Saent’s future includes controlling additional software like Ableton, for example. On this Metz says, “…the touchpad and gesture sensor in the device can be connected and used for any applications…they can [also] be used to control other applications and even specific functionalities within those applications. We’ll also create an API…so that pressing the button can also trigger actions within other applications…”

Saent is now crowdfunding on Indiegogohere

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Full Premiere: Ghetto Chords – Everybody Groovin’ (Original Mix)

ghetto chords 1

Amsterdam duo l’Atelier and Ghetto Chords (Martijn Wijsmuller) got the debut release to their new co-run label ‘just edits’ coming up: Theory EP, produced by Ghetto Chords himself. Since Wijsmuller is heavily influenced by the classic Chicago sound, Theory EP is an ode to house music’s golden age, with plenty of percussion and disco vocal samples. A definite peak-timer on Theory EP is Everybody Groovin’, which you can exclusively hear in full right here.

On its sound, Gijs of l’Atelier says that the Theory EP has that “true sampled house sound of Ghetto Chords, complimented by a driving, more ‘ghetto tech’ oriented remix of Kid Sublime”. The just edits releases will be available on vinyl in selected stores and online from August 14th.

Artist Page just edits

The post Full Premiere: Ghetto Chords – Everybody Groovin’ (Original Mix) appeared first on Deep House Amsterdam.

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Piers Crozier – TNT EP (inc. Max Chapman and Leftwing & Kody remixes) Resonance Records

Piers Crozier joins Resonance Records bringing three rumbling house numbers plus a pair of robust remixes from Leftwing & Kody and Max Chapman.  The mind behind ...

The post Piers Crozier – TNT EP (inc. Max Chapman and Leftwing & Kody remixes) Resonance Records appeared first on Knights Of The Turntable.

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