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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.
The post Businessman Offers €100 On Craigslist To Get Into Berghain appeared first on Deep House Amsterdam.
If anyone can make cookie-cutter techno, then improvisation is the route back to heart and soul. And there are few people as good at making dense, bass-heavy improvised dance music as Detroit’s Octave One.
I mean, yes, it’s a little weird that any of us would get overly eloquent or snobby writing about dance music. I would hope your test is the same as my test – does piping a track make you start doing an embarrassing little jig at your desk? (Boy, am I glad my office is on street level and equipped with giant, aquarium-style windows.)
Octave One stopped by Resident Advisor recently, with a table bestrewn with gear – that thickened-up gravy of sound. Yes, that’s our own MeeBlip (SE edition, modded with an extra-big knob) on the bass stabs at the beginning. And there’s tons of KORG and other gear in there, as well. There’s a nice balance of advance preparation with rich live-played synth lines and mixing and filtering. It means they’ve done enough that they can lay down a groove, but they also can feel transitions, structure – actually say something in the moment. They’re also clever in keeping everything accessible, rather than doing something overly cerebral. Sonically, everything is defined (clever groove can help), but there’s also a healthy amount of dirt and warmth.
There’s funk and soul in this music, too, ingredients that perhaps more producers would do well to genuinely understand.
Co-founders Lenny and Lawrence Burden have been at this for about a decade and a half, and it shows. But what impresses me is that they aren’t just riding off the success of some tracks: they’re proving their chops in every single show, whether you’ve heard of them or not. (And yes, you might recognize tracks like Black Water (with vocals by Ann Saunderson) – but it really doesn’t matter.)
For still more improvisation, don’t miss their Boiler Room Moscow live set from last year:
There, they debuted the rich, delicious track “Afterglow”:
It’s fun to watch on the Internet, but I know I hope I get lucky and see them in person. Tour dates through Europe before they wrap up in New York:
31.07.2015 – Moon Beach Festival, Trogir, Croatia
07.08.2015 – Dreambeach Festival, Almeria, Spain
30.08.2015 – Krankbrother day and Night, London
06.09.2015 – Vagabundos, Space, Ibiza
18.09.2015 – Bacchanale Festival, Vieux Port, Montreal
19.09.2015 – Stage One festival, TBA, New York
Give them a visit:
The post Octave One Are Back, Improvising Grooves with Machines appeared first on Create Digital Music.
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.
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.