DJ SET
THE
CHEMICAL BROTHERS HOCHSPANNUNGSHALLE
6.6.2009 ARSENAL 221, 1030 WIEN Tickets sind in allen bekannten VVK-Stellen sowie in den Filialen der Raiffeisenbanken Wien, Niederösterreich und im Burgenland erhältlich.
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springnine
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CONTENTS s6 s 12 s 18 s 24 s 32
s 44 s 52
s 64
s 76
s 82 s 86 s 96 s 97 s 99 s 100 s 106 s 160
1. All you can dance 2. Crazy. Sexy. Cool Nina Müller on Gossip 3. Final Frontier by Laurent Garnier 4. Tosca – Once again, no hassle by Alan Brown 5. Where I plug in my laptop is my home Natalie Brunner on Diplo 6. The sound of a city: Berghain – slow-paced nights in Berlin by Alexis Waltz 7. “It wasn’t always easy for me” – Interview with Fennesz by Tiz Schaffer 8. absolutely spring: The Art of Surprise by DJ Marcelle/Another Nice Mess 9. Red Bull Music Academy: A workshop with a difference by Florian Obkircher 10. “It takes a lot of ingredients to bake a tasty cake” by Urban Nerds 11. Never stuck in one corner – tiefparterre 12. Red Bull Music Academy Sessions 13. springnine festival radio 14. springnine festival centre 15. springnine program 16. springnine artists 17. Citymap
p 8 p 16 p 22 p 30 p 38
p 48 p 58
p 70
p 80
p 84 p 90 p 96 p 97 p 99 p 100 p 106 p 160
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1. All you can dance 2. Crazy. Sexy. Cool Nina Müller über Gossip 3. Final Frontier von Laurent Garnier 4. Tosca – Once again, no hassle von Alan Brown 5. Where I plug in my laptop is my home Natalie Brunner über Diplo 6. Der Sound einer Stadt: Berghain – lange, schnelle Nächte in Berlin von Alexis Waltz 7. „Es war nicht immer leicht für mich“ – Fennesz im Interview von Tiz Schaffer 8. absolutely spring: Die Kunst der Überraschung von DJ Marcelle/Another Nice Mess 9. Red Bull Music Academy: Der etwas andere Workshop von Florian Obkircher 10. „It takes a lot of ingredients to bake a tasty cake“ von Urban Nerds 11. Aus dem tiefparterre 12. Red Bull Music Academy Sessions 13. springnine Festivalradio 14. springnine Festivalzentrum 15. springnine Programm 16. springnine Artists 17. Stadtplan
Now listen up!
Maria Motter
Nichts ist lähmender als Angst. Durch die Musikindustrie taumelt das Wort Krise, lange bevor Jobabbau und Rettungspläne die Schlagzeilen beherrschen. Doch ein kranker Vogel wird nicht gesund, indem man ihm die Flügel stutzt. Es bedarf einer Flugkorrektur. Ein Freund meinte unlängst, er investiere nur noch in Erlebnisse. Wenn dieses globale Erwachen bislang positive Auswirkungen hatte, dann in der Musikbranche vor allem eine: im Mittelpunkt steht wieder die Musik, live und direkt. Das springfestival hat sich von Beginn an dem Zusammenspiel von Musikschaffenden, DJs und VJs und dem Publikum gewidmet. Der Euphorie, die einsetzt, wenn dich Beats kitzeln und deine Beine nie gleichzeitig den Boden berühren. springnine ist ein Fest, das in seiner globalen Herangehensweise Unerschrockenheit versprüht. Und die täte uns in allen Belangen gut. Mit aufgeweckter Neugier macht springnine wie alle bisherigen Ausgaben des Festivals keine kleinen Schritte, sondern wagt große Sprünge. springnine holt die Welt der elektronischen Musik direkt vor unsere Haustüren. Vom hohen Norden mit seinem im besten Sinne überdrehten Acid Symphony Orchestra über Berlin und Paris, mit Zwischenstopps in New York, Chicago und L.A. geht es nach São Paolo und Rio. Jedes Wochenende tanzen Millionen Menschen auf den Baile Funks der Favelas in Rio. Natalie Brunner bietet uns Einblick in die Clubkultur in Brasilien und porträtiert Diplo. Bei springnine wird der Globus zur Diskokugel, die ein glänzendes Spektrum von Innovation zu Mainstream spiegelt. Die eigene Nachbarschaft mit Initiativen wie tiefparterre wird dabei ebenso wenig außer Acht gelassen wie der Blick zurück. Laurent Garnier erzählt, wie er Detroit erlebt hat, wie sich die Maschinen in die letzte musikalische Revolution des zwanzigsten Jahrhunderts einschrieben. Und Alexis Waltz führt uns an jenen Ort, der die Keimzelle eines der einflussreichsten Technostile der Gegenwart ist – in den Club Berghain in Berlin. Der deutsche Musikjournalist macht uns mit den Persönlichkeiten von Berghain bekannt, die auf Ostgut Ton zuhause sind. Im Berghain herrscht übrigens strenges Fotografierverbot. Es geht um das Erleben, für sich selbst und die Menschen um einen, und nicht für die 100 Freunde im Internet. Denn Selbstbestimmung fängt nicht mit einem Foto auf Facebook an. Wie gut es tut, sich doch öfter auszuloggen, es sich gemütlich zu machen und die Dinge wahrzunehmen, die einen glücklich machen, weiß Alan Brown. Mr. Soul Seduction legt uns dazu Toscas „No Hassle“ ans Herz.
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Die Londoner Urban Nerds laden höchstpersönlich zur Party. Doch zu Beginn führt der Weg direkt zu Gossip, empfiehlt Nina Müller. Da schließt man sich gerne an. Die Energie Beth Dittos ist ansteckend.
Wer sofort einen Synthesizer ersteigern und loslegen will, sollte Florian Obkirchers Hinweise sorgfältig lesen. Auf einen Stil muss man sich erst gar nicht festlegen, meint die John Peel-Vertraute DJ Marcelle. Und Christian Fennesz plädiert für die Aufhebung der Kategorisierung von Musiken in E und U, wie er Tiz Schaffer im Interview erzählt. Dem gibt es nur noch eines hinzuzufügen: Herzlichen Dank an Daniela Andersen und Stefan Auer und ihr Zeiger-Team. 2009 nehmen die unendlichen Möglichkeiten, die wir haben, kein Ende. Entscheidungen sind gefragt. Für springnine hätten wir eine kleine Hilfe anzubieten: die Artists des Festivals im Überblick ab Seite 106.
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Und nun: springgrazen!
Now listen up!
Maria Motter
There is nothing more debilitating than fear. The word “crisis” had been circulating around the music industry long before job cuts and rescue plans began dominating the headlines. Still, a sick bird won’t get better by clipping its wings. It needs a change of heading. Recently a friend stated that, if anything, he invests in experiences only. If this global awakening has had positive impacts on the music industry, it would be mainly the fact that music, live and direct, has once again become the central focus. Since its beginning, the springfestival has dedicated itself to the interplay between artists, DJs and VJs and the audience. To the euphoria which kicks in when beats scintillate and your feet can only follow the groove. springnine is a festival which radiates dauntlessness with its global approach. And dauntlessness is something we could well use right now.
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Curiosity aroused, springnine, like its predecessors, refuses to take any baby steps. Instead it leaps. springnine brings the world of electronic music right to our doorsteps. We are taken from the North, with the Acid Symphony Orchestra: overtorqued in the best imaginable way, through Berlin and Paris, stopping over in New York, Chicago and Los Angeles, to São Paulo and Rio. Two million people party over the w eekends at the Baile Funks in the favelas every month. Natalie Brunner gives us an insight into Brasilian clubculture and introduces Diplo. At springnine, the world becomes a disco ball, reflecting the bright glittering spectrum ranging from innovation to mainstream. Having an eye on the local scene and initiatives such as Tiefparterre, the festival looks back in history as well. Laurent Garnier talks about his impressions of Detroit, and how machines were integral in the last musical revolution in the 20th century. Alexis Waltz takes us to Berghain, the mecca for club-goers in Berlin and the birthplace of one of the most influential contemporary techno styles. The music critic and journalist introduces us to the personalities of Berghain and their label Ostgut Ton. At Berghain, by the way, taking pictures isn’t allowed. It is all about the live experience, enjoying and sharing the moment with friends around you – and not for the 100 or so friends on the internet. Self-determination doesn’t start with a profile picture on Facebook. Alan Brown knows how good it is to log off more often, to sit back and relax and focus on the things that make you happy. Mr. Soul Seduction gives a warm recommendation of Toscas “No Hassle”. The Urban Nerds from London personally invite us to their club night. And, at the very opening, there is only one way to go, and that leads straight up the Schloßberg to Gossip as Nina Müller so fervently advocates. No need to ask twice. Beth Ditto’s energy is contagious. And if you suddenly find yourself with an urge to go out and buy an 80s synthesizers at auction and get started, think carefully about Florian Obkirchers tips. There’s no need to be stuck on just one style says DJ Marcelle, confidant of the late John Peel. And Christian
Fennesz advises that we stop differentiating between “E-Musik” and “U-Musik” (meaning literally ‘serious’ and ‘entertaining’ music), as he told Tiz Schaffer when interviewed. To this, there is nothing more to add, other than: Thank you so much, Daniela Andersen, Stefan Auer and all of the Zeiger team. The infinite range of possibilities won’t come to an end in 2009. Decisions still need to be made. And in terms of springnine, we can offer you a little help: you’ll find the artists performing at this year’s springfestival at a glance from page 106 onwards.
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Enjoy!
IN ODD WE TRUST.
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Crazy. Sexy. Cool. Nina Müller über Gossip „Die Dicken sind das Problem“, ätzte Karl Lagerfeld noch vor kurzem vor der Modepresse, jetzt lässt er sich sehr gerne mit einem solchen „Problem“ ablichten: Gossip-Frontfrau Beth Ditto, in letzter Zeit omnipräsent in der ersten Reihe bei Prêt-à-porter-Shows, ist das, was man wohl eine „starke“ Frau nennt, und das trifft nicht nur – vorsichtig ausgedrückt – auf ihre Statur zu, sondern auch auf ihre kraftvolle Stimme, die man ruhig in einem Atemzug mit Aretha Franklin, Janis Joplin oder Tina Turner erwähnen kann, und vor allem ihre Attitude. Sie ist lesbisch, Feministin und berüchtigt dafür, sehr direkte Worte für ihre Anliegen zu finden. Gossip live, das heißt voller Körpereinsatz: Die Ditto schreit, schwitzt und strippt auch schon mal, wenn es ihr auf der Bühne zu heiß wird. Voller Körper-Einsatz war es auch, der die Amerikanerin in Europa, vor allem in England, bekannt machte, als der NME im Sommer 2007 ein Nacktfoto von ihr auf der Titelseite brachte. Deutlich zu sehen: Speckrollen, ein Anker-Tattoo, unrasierte Achseln. In vielen Zeitschriftenhandlungen landete die Ausgabe nach Beschwerden von Kunden verschämt mit der Rückseite nach oben in den Regalen, Feministinnen wie die Australierin Germaine Greer lobten das Cover hingegen als eine Kampfansage gegen die konventionelle Darstellung von Frauen. Kampfansagen ziehen sich durch das ganze Leben der Beth Ditto und auch ihrer leider immer in den Hintergrund gedrängten Bandmitglieder, der ebenfalls lesbischen Hannah Blilie und des Gitarristen und Bassisten Brace Paine, der von seinen Kolleginnen gerne „the biggest feminist possible“ genannt wird. Sie wuchsen in der Kleinstadt Searcy in Arkansas auf – im bigotten Bible Belt zwischen Kirchenchören und Countrymusik. „Wir fühlten uns nur verzweifelt und ausgestoßen, wir wurden von niemandem wirklich verstanden – Nathan wurde immer wieder verdroschen, Jerry belästigt und Kathy (die erste Drummerin der Band, Anm.) gezwungen, zur Kirche zu gehen. All das brachte uns dazu, noch mehr zu rebellieren“, erzählte Ditto in einem Interview über diese Zeit. Die Band gründeten sie erst nach ihrer Flucht an die liberale Westküste in Olympia, Washington, in den 90er Jahren das Zentrum der Riot-Grrrl-Bewegung und von Kill Rock Stars, dem Plattenlabel von wichtigen Bands wie Bikini Kill und Sleater-Kinney, mit denen Gossip auch gleich ihre ersten Liveshows absolvieren durften.
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Die Wut im Bauch durch das restriktive Aufwachsen am Land, der musikalische Südstaaten-Background, neue Einflüsse durch befreundete Bands wie Le Tigre, all das kommt in „Standing in the Way of Control“ zusammen, dem 2006er Album mit dem gleichnamigen Indie-Floorfiller, mit dem
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die Band endlich auch in Europa durch die Decke geht. Drummerin Hannah Blilie drischt auf ihre Becken, Brace Paines Bass setzt mit einem einfachen Riff ein, das es im Fußballstadion mit „Seven Nation Army“ aufnehmen könnte, dann folgt Beth Dittos umwerfende Stimme. Der Song ist noch dazu eine Reaktion auf George W. Bushs Weigerung, Schwulen und Lesben das Recht auf Heirat zuzugestehen. „Alle Personen, die ich kenne, fühlten sich hilflos und betrogen“, kommentierte Beth. „Ich schrieb den Refrain, um die Leute zu ermutigen, nicht aufzugeben. Die einzige Möglichkeit zu überleben ist zusammenzuhalten und weiter zu kämpfen“. Zum Ex-Fugazi-Gitarristen Guy Picciotto als Produzent und Kim Gordon als Gestalterin des Cover-Artworks gesellt sich noch eine imposante Liste von Remixern: Auf Le Tigre folgen Soulwax, Playgroup, MSTRKRFT, Punks Jump Up, New Young Pony Club und Tiga. Mehr Credibility geht also kaum. Der NME macht es daraufhin offiziell: Beth Ditto wird mit Platz eins auf der jährlichen „Cool List“ des Magazins geadelt, woraufhin in Großbritannien kaum ein Tag vergeht, an dem nicht irgendetwas über Beth Ditto zu lesen ist, von Gerüchten über das Essen von Eichhörnchen in der Kindheit („Sex. Drugs. Squirrels“), einer Nominierung zur „Sexiest Woman“ (Kate Moss wurde letztendlich doch für sexier befunden) bis hin zur Diplomarbeit (unter dem Titel „Future Gender Context: Expression of The Self in Contemporary Cultural Discourse“ verknüpfte ein Student Dittos Selbstdarstellung mit den Schriften von poststrukturalistischen Theoretikern wie Michel Foucault, Judith Butler und Jacques Derrida). Eine der charmantesten Ausprägungen der Ditto-Mania war die Serie „What would Beth Ditto do?“ im Guardian, wo sie den Lesern als Briefkastentante bei Problemen und Problemchen („I‘m too scared to get a new hairstyle“) half. Im Juni werden Gossip wieder daran erinnern, dass sie eigentlich eine Band sind und ein neues Album mit dem tollen Titel „Music for Men“ veröffentlichen, produziert von niemand geringerem als Rick Rubin und James Ford (genau, der von Simian Mobile Disco), und auch bis es soweit ist, kann uns eigentlich nichts Besseres passieren, als ein Role Model, das ein bisschen mehr drauf hat – und zwar in jeder Hinsicht.
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springnine: Gossip spielen neben Fever Ray, Bodi Bill und Fiago bei der Electronic Beats Opening Night am Mittwoch, 20. Mai, auf den Kasemattenbühnen am Grazer Schloßberg.
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Crazy. Sexy. Cool. Nina Müller on Gossip It wasn’t too long ago that Karl Lagerfeld was cited bitching about fat people in the fashion press. These days he seemingly enjoys being photographed with a representative of what he referred to as the “problem”: Gossip singer Beth Ditto, seen in the front row at almost every fashion show, is one big woman. Not only in terms of her size, but also her powerful voice, which has been mentioned in the same breath as Aretha Franklin, Janis Joplin or Tina Turner. And Ditto brings with her some serious attitude: She is a lesbian, a feminist and notoriously outspoken. Gossip live in concert is a full-bodied experience: on stage Beth Ditto screams, sweats and finally strips everything off when the heat is on. It was also her body that made her famous all over Europe, when the NME featured her on the cover – stark naked. Clearly visible in the photo were love handles, an anchor tattoo and unshaved armpits. Newsstands bashfully hid the front page so as not to upset customers while feminists like Germaine Greer praised the cover for challenging the conventional depiction of women. Beth Ditto and her fellow band members, drummer Hannah Blilie (who is also a lesbian) and on guitar and bass Brace Paine (whom they call „the biggest feminist possible“), had to face a lot of challenges growing up in the small town of Searcy in Arkansas located in the pious Bible Belt and featuring church choirs and country music. “It was just despair and feeling alienated and no one really understanding you, Nathan getting beat up all the time, Jerry being harassed, Kathy being forced to go to church. All of those things made you want to rebel even more,” Beth recalls from her youth in an interview. The band was formed after their escape to the liberal west coast and Olympia, Washington, center of the riot grrrl movement in the 90s and home of Kill Rock Stars, the label famous for influential bands such as Bikini Kill and Sleater-Kinney – bands which would soon play shows together with Gossip.
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The anger over growing up in such a restrictive environment, the Southern musical background, new influences by friends like Le Tigre: all of that culminated in “Standing in the Way of Control“, the band’s 2006 debut album. The indie hit single of the same name marked Gossip’s breakthrough in Europe: It features drummer Hannah Blilie thrashing her cymbals, Brace Paine playing a bass riff that could be as much a football anthem as “Seven Nation Army” and finally Beth Dittos unique vocals kicking in. The song was written as a response to George W. Bush’s decision to deny gay people the right to marriage. “Nobody in the States was that surprised or shocked by what Bush did, but it made everyone I know feel helpless and cheated,” Beth says. “I wrote the chorus to try and encourage people not to give up. It’s a scary time for civil rights, but I really believe the
only way to survive is to stick together and keep fighting.” The album not only features Fugazi’s ex-guitarist Guy Picciotto as a producer and Sonic Youth’s Kim Gordon as an artwork designer, but also an all-star list of remixers: Le Tigre are joined by Soulwax, Playgroup, MSTRKRFT, Punks Jump Up, New Young Pony Club and Tiga. You can’t really ask for more credibility than that. Following the success of “Standing in the Way of Control”, NME crowned Beth Ditto the coolest person alive placing her first on their annual “cool list“. Subsequently, one could read about Beth Ditto in the press almost every day: rumours about her eating squirrels in her childhood (“Sex. Drugs. Squirrels“), a nomination for the “sexiest woman” award (the award, however, went to Kate Moss) or even her as the subject of a dissertation (entitled “Future Gender Context: Expression of The Self in Contemporary Cultural Discourse” – in which a student linked Ditto’s gender representations to the writings of post-structuralist theorists Michel Foucault, Judith Butler and Jacques Derrida). One of the most charming consequences of Ditto-Mania was the series “What would Beth Ditto do?“ in the Guardian featuring Ditto as an agony aunt helping readers with problems ranging from the serious to the rather more trivial (“I’m too scared to get a new hairstyle“). This June, Gossip are going to be reminding us that they are really a band with the release of their new album “Music for Men”, produced by Rick Rubin and James Ford (of Simian Mobile Disco fame). Until then there could be no better role model who has got just that little bit more – in every respect.
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springnine: Gossip will be playing at the Electronic Beats Opening Night on Wednesday, May 20st, Kasematten Stage, Schloßberg, alongside Fever Ray, Bodi Bill and Fiago.
Final Frontier LAURENT GARNIER
„Techno ist, ganz wie Detroit, ein totales Missverständnis. Das ist, als würde man Kraftwerk und George Clinton in einen Aufzug sperren und ihnen als einzige Begleitung einen Sequenzer hinstellen.“ Derrick May „We created tomorrow and live in your imagination. We will never die.” Underground Resistance
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Mein Flugzeug landet gegen siebzehn Uhr Ortszeit in Detroit. Ich lasse mehrere Kontrollen über mich ergehen, ohne genau zu wissen, warum. Schließlich wird es dem Beamten langweilig, und er hinterlässt einen rosa Stempel in meinem Pass. Ich passiere den Zoll, gehe durch die Sicherheitstüren und bin draußen. Ich schnappe mir ein Taxi und gebe dem Fahrer die Adresse von Kenny Larkin, der in seinem Haus in einem weißen Vorort auf mich wartet. Das Auto startet durch, saust über die stumpfen Ringstraßen. Nachdem wir die unsichtbare Grenze, die durch die Schilder „Downtown Detroit“ gezogen wird, hinter uns gelassen haben, sehe ich die breiten Straßen der Stadt. Es ist dunkel. Die wie mit Aussatz befallenen Mauern ziehen im blassen Licht der Scheinwerfer vorüber wie faltige, kurz vor dem Einsturz stehende Mausoleen. Am Horizont ragen mit einem G und einem M versehene Türme auf. Der Taxifahrer deutet mit dem Finger auf die Türme, als ob er mir die Ruinen einer lokalen Sehenswürdigkeit zeigen würde: „You see, right there, it’s the General Motors Towers!“ Von der Spitze dieser Türme aus Glas und Stahl blicken die roten und blauen Initialen auf ein Detroit im Zustand der Agonie. Im Taxi versuche ich mich zu erinnern: Wann habe ich den Namen Detroit zum ersten Mal gehört? In den Neunzigerjahren, via Techno? Durch den Motown-Soul? Soul und Techno sind zwei Ableitungen aus ein und derselben Geschichte, die von Leiden und Ehrlichkeit erzählt. Eines ist sicher: In meinem Kopf wurde Detroit sofort mit der Idee von Musik verbunden. Für alle, die wie ich mit Schallplatten aufgewachsen sind, ist Detroit ein Markenzeichen, ein Qualitätsstandard. Von den Entdeckungen des Jazz und Rhythm & Blues über die Erfindung des futuristischen Funk von George Clinton bis hin zum Ausdruck des Zorns bei MC5 und den Stooges und dem unvergesslichen Motown-Soul. Für Amerika, ein Land, dem die Erinnerung schwer fällt, ist Detroit ein Lichtblick in der kulturellen
EUR 24.90 / sFr. 43.70 ISBN 978-3-85445-252-2
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Laurent Garnier David Brun-Lambert Elektroschock Hannibal Verlag www.hannibal-verlag.de Die Geschichte der elektronischen Tanzmusik übersetzt von Oliver ilan Schulz, 296 Seiten
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Dunkelheit. Für die Europäer präsentiert die Stadt eine Fantasievorstellung von Innovation, Swing and Perfektion. Und für Leute wie mich ist Detroit die Mutter des Techno, die Heimat der Schmerzen, wo sich Jazz, die letzte große Musik des Jahrhunderts, in elektronische Musik verwandelt hat. Denn Techno kann als eine urbane Weiterentwicklung des Jazz gesehen werden. Von John Coltrane bis Derrick May geht es um dieselben fixen Ideen: Raum, Zeit, Groove und eine unendliche Melancholie. Ich bin für Dinge nach Detroit gekommen, die mich tief bewegen: die Vibrationen der Stadt zu fühlen und meine Techno-Meister zu treffen; zu versuchen, die Reinheit und die maßlose Traurigkeit zu verstehen, von denen ihre Musik erfüllt ist; zu versuchen zu erfassen, warum diese Musik so viel Emotion, so viel Härte, Erfahrung und Schönheit ausstrahlt. Ich stellte mir vor, in einer Stadt in Ruinen anzukommen, dass ich darum kämpfen muss, um an das Mysterium Detroit heranzukommen, jede Bekanntschaft verhören und jedes Zeichen hinterfragen muss. Aber eigentlich steht schon alles in der Geschichte der Stadt. Das Wirtschaftswunder vollzieht sich hier als Detroit, so wie Manchester in England. Detroit wird zum großen industriellen Experiment Amerikas und nimmt mehrere tausend Arbeiter aus den gesamten Vereinigten Staaten auf, um in den Ford-Autofabriken zu schuften, die Schwarzen müssen derweil in den Schmelzhütten bleiben. Die griechische Diaspora gründet das Viertel Greek Town, und die erste schwarze Gemeinde wird im Getto Black Bottom zusammengepfercht. Dort, auf der Hasting Street, entsteht die erste Gebetsstätte der Nation of Islam. 1932, nach dem Börsencrash, erhält Detroit den Spitznamen „die grüne Stadt“: Es gibt pro Quadratkilometer mehr Bäume als in jeder anderen Stadt. Mit dem Zweiten Weltkrieg erlebt Motor Town ein zweites goldenes Zeitalter, die Stadt wird zum „Arsenal der Demokratie“: In den Ford-Fabriken werden B52-Bomber gebaut und bei Chrysler Panzer. Der Jazz kommt auf, das Black-Bottom-Getto wird für eine Autobahn abgerissen, und 1959 gebiert Motor Town Motown, den kulturellen Stolz der schwarzen Gemeinde. Schließlich ergreift der Kampf für die Bürgerrechte die Vereinigten Staaten, und im Juli 1967, einige Wochen nach den Ereignissen von Watts, wird Detroit für drei Tage Schauplatz blutiger Auseinandersetzungen. Schließlich beginnt ein langsamer Abstieg: die Schließung der Autofabriken, der Verlust der Ideale, die Flucht der weißen Gemeinschaft in die Vororte, je mehr sich das Getto ausbreitete. Und in den Achtzigerjahren die massive Ausbreitung von Crack in den Gettos. Techno aus Detroit spricht von all diesen Prüfungen. In dieser von Dramen durchdrungenen Musik spürt man die Kraft von Leben, das nicht erlöschen will. Worte sind hier nur Beiwerk. Alles ist in wenigen Noten enthalten, die unendlich wiederholt werden. Diese Musik ist Metall, Glas, Stahl.
Man schließt die Augen und hört – zuerst aus weiter Ferne und dann immer näher kommend – den Widerhall eines Schreis. Wie der Jazz und die Klagen des Blues überträgt Detroit-Techno das Leiden. Und diese Authentizität der Seele kann man nicht kaufen. Anfang der Achtzigerjahre war Detroit noch ein Testgebiet für die amerikanischen Plattenfirmen. Weil sie der Ansicht waren, dass ein Künstler, der in Detroit ankam, sich in den gesamten Vereinigten Staaten gut verkaufen würde, übergaben die Majors einen Teil ihres Einflusses an die Radios der Stadt. So traten Radio-DJs in den Vordergrund, deren Rolle für die Einführung neuer Künstler und das Aufkommen neuer Musikströmungen wesentlich war. Alle DJs und Produzenten der ersten Detroit-Techno-Generation erzählen noch heute von den Sendungen von Electrifying Mojo, einem visionären DJ, der die neue elektronisch Klangfülle aus Europa mit den Wurzeln schwarzer Musik mixte. Und alle erkannten seinen entscheidenden Einfluss an. Mojo machte den Anfang, indem er zur Primetime Prince und A Certain Ratio, Funkadelic und Kraftwerk mixte, weil er Visage, New Order, die Pet Shop Boys, die B-52’s, Falco und den französischen Geiger Jean-Luc Ponty unterstützte.
Auszug aus „Elektroschock – Die Geschichte der elektronischen Tanzmusik“ von Laurent Garnier, David BrunLambert, aus dem Französischen von Oliver ilan Schulz (Titel der Originalausgabe: Electrochoc, erschienen 2003 bei Flammarion), erschienen 2008 in der deutschen Ausgabe im Hannibal Verlag.
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springnine: Laurent Garnier wird am Donnerstag, 21. Mai, seine erste Österreich-Show live mit Band im Dom im Berg spielen.
Final Frontier LAURENT GARNIER
„Just like Detroit, Techno is a complete misunderstanding. Like if you’d locked Kraftwerk and George Clinton into an elevator and given them only a sequencer for backing.” Derrick May “We created tomorrow and live in your imagination. We will never die.” Underground Resistance
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Around five p.m., my plane arrives at Detroit. I have to go through a couple of checkpoints, without really knowing why. Finally, the officer gets bored and puts a pink stamp in my passport. I pass customs, go through the security doors and leave the airport. I catch a taxi and give the driver Kenny Larkin’s address. He is waiting for me in his house in one of the white suburbs. The car drives off, swishes across the belt highways. After passing the invisible border that is drawn by the “Downtown Detroit” signs, I see the wide streets of the city. Darkness. In the pale light of the headlights, the walls seem to be covered with leprosy and are passing by like wrinkled, almost broken, mausoleums. The big towers with a G and an M on their tops loom on the horizon. The taxi driver points at the towers – one could think he is showing me an old local monument – and says: “You see, right there, it’s the General Motors towers!” From the top of the towers, the red and blue initials stare at Detroit – a city that seems to be in a state of agony. Sitting in the cab, I try to remember: When did I hear the name Detroit for the first time? Was it in the 1990s, via Techno? Was it in connection with Motown-Soul? Soul and Techno are two derivations from the same story – a story telling us about pain and honesty. One thing is for sure: in my head, Detroit was instantly connected with the idea of music. Detroit is a trademark, a sign of quality for everyone who has grown up with records – like me. They range from the discoveries of Jazz and Rhythm & Blues, George Clinton’s invention of futuristic funk, expression of anger by MC5 and the Stooges, to the unforgettable Motown-Soul. Detroit is a glimmer of light in the cultural dark of America, a land where people find it hard to remember. For Europeans, the city represents a fantastic image of innovation, swing and perfection. For people like me, Detroit is the mother of Techno, the hometown of pain – where Jazz, the last big music of the century, turned into electronic music. For Techno can be regarded as an urban advancement of Jazz. John Coltrane and Derrick May represent the same ideas: space, time, groove and a never ending melancholy. I came to Detroit to
experience things that really touch me deep inside: to feel the vibrations of the city and meet my masters of Techno; to try to understand the purity and the never ending sadness, their music is filled with; to try to comprehend why this music exudes so much emotion, harshness, experience and beauty. I imagined that I would come to a wrecked city, that I would have to fight to be able to grasp the mystery of Detroit, that I would have to question every sign and every acquaintance. In fact, everything is already written in the history of the city. In America, the economic miracle was represented by Detroit, just like Manchester represented it in England. Detroit became America’s big industrial experiment – thousands of workers from all over the US came to toil in the Ford car-factories. The black people had to stay in the smelting works. The Greek diaspora founded the Greek Town-district and the first black community was packed together in the Black Bottom-ghetto. This is where the first temple of the Nation of Islam was built. After the stock market crash in 1932, Detroit got its nickname “Green City”: it has more trees per square kilometer than any other city. The Second World War brought another golden age for Motor Town. The city became the “arsenal of democracy”: Ford was building B52-bombers, Chrysler began to build tanks. Jazz started to develop and the Black Bottom-ghetto was demolished because a new highway was built. 1959 saw the birth of Motown, the cultural pride of the black community. Eventually, the Civil Rights Movement reached the United States. In July 1967, a few weeks after the riots in Watts, violent riots began to rage in Detroit as well. Then the slow, creeping decline began: car-factories were closed, people’s ideals started to disappear and the white community fled to the suburbs while the ghettos spread out more and more. In the 1980s, crack started making its way into the ghettos. Detroit Techno speaks about all these problems. In this music, so richly infused with drama, you feel the power of life that is fighting against extinction. In this music, words serve as accessories only. Everything is contained in a few notes that are repeated all over again. This music is metal, glass, steel. You close your eyes and hear the reverberation of a scream. First it seems to be far away then it comes nearer and nearer. Just like Jazz and the laments of Blues, Detroit Techno carries the pain. This soulful authenticity is something that cannot be bought. In the beginning of the 1980s, Detroit used to be the testing area for American record labels. The Majors thought that artists who were successful in Detroit, could sell their records all over the United States and that’s why the local radio stations had a little more influence. Radio DJs, who became essential for the introduction of new artists and new types of music, started appearing. All the DJs and producers from the first generation of Detroit Techno are still talking about the radio shows with Electrifying Mojo. He was a visionary DJ who mixed the abundance of electronic sounds from Europe with the roots of black music. His influence is regarded as crucial for the whole further development of Detroit Techno. Mojo broke the first ground when he mixed Prince and A Certain Ratio, Funkadelic and Kraftwerk. By doing this, he provided huge support for Visage, New Order, the Pet Shop Boys, the B-52s, Falco and the French violinist Jean-Luc Ponty. Extract from: „Electroschock - Die Geschichte der elektronischen Tanzmusik“ by Laurent Garnier, David Brun-Lambert, German translation of the original, French version by Oliver ilan Schulz (original title: Electrochoc, first published in 2003 by Flammarion), first published in 2008 by Hannibal Verlag.
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springnine: Laurent Garnier will be playing his first full live show in Austria on Thursday, May 21st, at Dom im Berg.
TOSCA
ONCE AGAIN NO HASSLE Alan Brown Was ist mit unserem Leben passiert? Große, genüsslich getrunkene Milchkaffees, Riesenstapel von dicken Zeitungs-Wochenendausgaben. Wann haben Sie das letzte Mal mit den Füßen gewippt? Haben die Menschen überhaupt noch Zeit, mit den Füßen zu wippen? Es ist ein sonniger Sonntag, es ist mein liebster Morgen in der ganzen Woche, und es ist Zeit für einige ‚brushes on drums’, bittedanke. Ah, und Zeit, mit dem Fuß im Takt zu wippen! Ich mache mir noch einen dieser erstaunlich riesigen Kaffees, die diese verrückten Wiener Melange nennen. So, jetzt habe ich alles, was ich brauche, ich bin – wie es meine Freunde zuhause ausdrücken würden – „sorted, good and proper“. Ich wette, Elli hat diesen Ausdruck oft genug im The End gehört? Mir taugts einfach. Wie auch immer, bitte, heute alles mit der Ruhe, kein Stress. Die besänftigenden Eigenschaften von Musik sollte man niemals unterschätzen. In einer Welt, die sich offensichtlich in einer Krise befindet, scheint sich ein Sound dem Konsum zu entziehen. Man stelle sich das vor, eine Welt wie Tosca! Diese zwei unglaublich wohlerzogenen Typen aus Wien, die seit fünfzehn Jahren die Kulisse für meinen Sonntagmorgen schaffen. Die Vorstellung allein! Große Milchkaffees an jedem normalen Tag und nicht nur an diesem sonnigen Sonntag. Es ist so: ich habe zuviel Stress in meinem Leben. Sie auch, oder? In der Nähe meiner Wohnung stehen zwei Kräne, die Dinge in die Höhe hieven und sie fallen lassen und zwar zu den unmöglichsten Tageszeiten (zumindest für mich ist das vor Mittag unangemessen und unmöglich). Irgendein Trottel lädt mich via Facebook zu einer Party am anderen Ende der Welt ein (zum sechsten Mal in diesem Monat), und ich habe schon wieder einen Socken bei der Wäsche verloren. Ich fühle so mich so nutzlos wie ein Einbeiniger in einem Arschtritt-Wettbewerb bei diesem ganzen derzeitigen emotionalen Druck. Ich möchte grinsen, aber mir gelingt nur eine verzerrte Grimasse. Wo ist mein Socken?!
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Die heilenden Klänge Toscas hatten all die Jahre eine beruhigende Wirkung. Und ich bemerke gerade, ich habe sie immer für selbstverständlich gehalten. Von der „Chocolate Elvis“ EP zu Zeiten, als ich noch in London lebte angefangen bis zum brandneuen Album „No Hassle“.
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Die Welt steht nimmer lang (wie man in diesem Land zu sagen pflegt), Facebook nervt ohne Ende, doch ich danke diesem allmächtigen, großen orangen Ding am Himmel für Tosca und ihre verführerischen, sinnlichen Sounds. Ja, die Burschen machen das schon eine ziemliche Weile. Einführende Worte braucht es nicht, oder? Sie wären nicht hier, wüssten Sie nicht, worum es geht, nehme ich einmal an. Tosca hat mir und einigen anderen schon immer sehr viel bedeutet. Die Beatniks und die VinylJunkies in der Berwick Street und anderen perversen Gegenden in London’s Soho könnten ein Lied davon singen. Glaubt mir, die Pornoläden damals waren ein totaler Schaß, doch die Plattengeschäfte waren das Geilste überhaupt. Und ganz ehrlich, wir waren höchstwahrscheinlich die allerersten, die zu Tosca in Massen mit den Füßen wippten. Ich denke, so hat alles angefangen. In einem wahnwitzigen Dreisprung zwischen zig Plattenläden, immer auf der Suche nach den neuesten Beats, bevor ein anderer sie Dir vor der Nase wegschnappen konnte. Ein Zick-Zacklauf zwischen mehr Gemüse auf dem Gehsteig als auf den Marktständen, dabei immer schön aufpassen, Taschendiebe überall, und ja nicht auf halb verfaulten Tomaten oder Kohlblättern ausrutschen! Ja, Plattenkaufen war anstrengend in Zeiten, in denen Internet Shopping noch nicht erfunden war, aber echt! Die erste Platte, die man nach einer zweistündigen Heimreise mit der U-Bahn (weil das Scheiß Signal in der Acton Town Station wieder verrückt spielte) zuhause angekommen auflegte, war höchstwahrscheinlich die 12’’ von Tosca, die man gerade eben erstanden hatte. Damals hat sie viele Zwecke erfüllt, und ich möchte die Gelegenheit nützen und mich an dieser Stelle öffentlich bei Richard und Rupert dafür bedanken, den Verstand vieler Londoner DJs gerettet zu haben. Den DJs wird es vielleicht gar nicht klar geworden sein, dass Ihr sie vor Amokläufen an diesen durchgeknallten Samstagmorgen bewahrt habt. Wer mehr über den berühmt-berüchtigten ‚Saturday Morning Rush’ wissen möchte: Mr. Earl Zinger, ein langjähriger Freund der Toscafamilie, wird Ihnen bestimmt gerne mehr erzählen. Die Wahrheit ist: Druck, Stress und Kopfweh verfolgen uns. Sie können es nicht abstreiten, sie können dem nicht entkommen. Es scheint so offenkundig wie alles in unserem Alltag heutzutage. Die Welt wird schneller und schneller und bei diesem Tempo mitzukommen wird schwieriger und schwerer. Ich habe es mir zum Prinzip gemacht, stets Tosca zu hören, wenn ich Ryan Air- oder Sky Europe-Tickets online kaufe. Ellischatzi, du solltest das auch machen. Kein Wunder, dass Sie bereits gestresst sind, weil Ihnen die Entscheidung zwischen MixHell und dem Superspecialsurprise Gast im Dom im Berg und Goldie zu späterer Stunde im PPC schwer fällt, oder? So ist die Welt, in der wir leben. Unmengen an Möglichkeiten, Massenselektion, riesige, lärmende Kräne, Idioten, die einen mit Einladungen bei Facebook zuspammen. Get used to it, Oida!
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Die gute Nachricht jedoch lautet: wenn Sie sich Tosca live hier beim springnine-Festival anhören werden, gehen Sie nicht gestresst hin, verstanden? So schaut’s aus: Sie setzen sich hin, sie lassen ihre Glieder, die vom vergnüglichen Herumspringen auf der Suche nach einer göttlichen musikalischen Eingebung müde sind, ruhen, Sie lehnen sich zurück und genießen. Sie werden im Stefaniensaal sitzen, an einem ganz besonderen Ort, ganz speziell erbaut für diese Art von Zusammenspiel. Ein wahrer fürstlicher Austausch von Elementarteilchen (Ihre) und einigen wahrlich sexy Zehen und Füße in Bewegung setzenden Grooves (Tosca) nimmt seinen Lauf. Höchstwahrscheinlich haben Sie wie wild getanzt seit Mittwoch, höchstwahrscheinlich völlig zurecht. Es gibt keinen Zweifel, Tosca werden live sehr viel von ihrem neuen Album spielen. Das wird Ihnen gut tun und die Batterien aufladen.
Mir hat dieses Rezept seit über fünfzehn Jahren gut getan. Vertrauen Sie mir, das wirkt. Ehrlich! Welche Musik auch immer Sie gehört haben, zu welchen Tracks Sie getanzt haben und den Freak in Ihnen einmal Freak sein lassen haben während des springnine Festivals – nichts wird so heilsam sein wie Tosca und „No Hassle“. Viel Vergnügen! Alan Brown, Soul Seduction, Vienna.
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springnine: Weltpremiere von Toscas neuem Album „No Hassle“, Freitag, 22. Mai, Stefaniensaal.
DYNAMOWIEN / FOTO: PREIML/KOPTAK
Wien 103.8 St. Pรถlten 98.8 Eisenstadt 97.4 Linz 104.0 Salzburg 104.6 Innsbruck 101.4 Bregenz 102.1 Graz 101.7 Klagenfurt 102.9 fm4.ORF.at
:your festival radio
FM4_Spring9_Struwwel.indd 1
09.04.2009 16:37:17 Uhr
Musik. Wann immer Du willst. Hol' Dir Deine Lieblings-Songs in voller L채nge direkt aufs Handy und PC. N채here Infos unter www.t-mobile-music.at
TOSCA
ONCE AGAIN NO HASSLE Alan Brown What happened to the way we live? Long slow milky coffees, Sunday morning papers stacked to the ceiling. What ever happened to tapping your feet? Do people even have time to tap their feet any more? It’s a sunny Sunday here, it’s my favourite end of the week morning, and it’s time for some “brushes on the drums” please. Yeah, time to tap feet once again! I’ll make one of those big stupendous coffees those mad Viennese call a “Melange” too. I’m set, or as my boys back home would say “I’m sorted, good and proper”. Bet Elli hanging out at “The End” heard that “nuff” times? Anyway, please, today, no hassle. The palliative properties of music should never be overlooked. In a world obviously in crisis one sound seems to abstain and choose not to consume. Imagine a world like Tosca? Those two frightfully educated types from Vienna who have been soundscaping my Sunday mornings now for over fifteen years. Just imagine? Long slow milky coffees every freaking day and not just a sunny Sunday. See, I got too much stress in my life. Bet you have too, yeah? Nearby, two huge cranes like to pick things up and drop things down at inappropriate times of the day (at least for me, anything before midday is inappropriate). Also, I got some goon trying to invite me to a party in a far away place on Facebook (sixth time this month), and I’ve lost yet another sock in the wash. I’m feeling as much use as a one legged man in an ass kicking contest with the emotional forces put on my body these days. I want to grin but end up grimacing. I want my sock back! The sanative sounds of Tosca have been a curative allay for many years now. I’ve realized I’ve taken this for granted I believe? From “early doors” ‘Chocolate Elvis’ EP shizzle when I lived in the Smoke, to the brand spanking new ‘No Hassle’ long player just released. The world is a freaking mess, Facebook is getting on my tits, but thank the almighty big orange thing in the sky for Tosca and the seductive and sensual sounds they bring forth. Yes, the boys have been doing this a while now. No introduction needed I guess? You wouldn’t be here if you didn’t know shit I take it?
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Tosca has always been special to me and a few others. The Beatniks and vinyl junkies of Berwick Street and other perverted areas of Soho in London will tell you this. Trust me, the porn shops were absolute dog shit,
but the record shops were mustard back then, and we were probably the first to tap toes in mass to Tosca in all truth. I guess this is where it all started. Hop, skipping and jumping a dozen record shops for a few hours looking for the upper hand or the beats before they went. Trying to avoid more vegetables on the street than in the stalls of the market traders, trying not to get your pockets picked before you trod on a particularly rotten cabbage or tomato! Record shopping was stressful before the days of internet shopping, trust me. First vinyl you played when you got home after your two hour tube journey (because of another freaking signal failure at Acton Town station) was probably the Tosca 12’’ you just bought. It served many purposes back then and I’d like to take this opportunity to publicly thank Richard and Rupert for saving the sanity of many London DJs who probably didn’t know it at the time but refrained from mass murder those manic Saturday mornings. Long time Tosca friend Mr Earl Zinger will teach you about the infamous London “Saturday morning rush” if you care to indulge your education further. The truth is, stress and shit follows us around. You can’t deny it, you can’t escape it. It seems as apparent as anything in your day, today. The world is moving faster and faster, keeping up is harder and harder. I’ve made a point of playing Tosca tracks whenever I book Ryan Air or Sky Europe tickets online. Elli, you should too, hun. No doubt you’re stressed already as you can’t decide between seeing Mix Hell in the Dom or Goldie at PPC later on, yeah? This is the world we live in. Lots of choice, mass selection, big noisy cranes, idiots spamming invites on Facebook. Get frigging used to it, pal. Good news though, if you’re going to listen to Tosca live here at springnine, you aren’t going to do it under stress, got that? That’s the deal, you sit down, you rest your achy limbs from last night’s frolicking around the many venues you chased in search of divine musical intervention and you’ll sit back and enjoy. You’ll be sitting in the Stefaniensaal, somewhere special, somewhere purposely designed for this type of interaction. A right royal transfer of energy between elementary particles (you) and some seriously sexy toe tapping grooves (Tosca) begins. Probably very appropriate too, you’ve probably danced your socks off since Wednesday. No doubt Tosca in live form will be playing much material from the new album. This will aid and refuel. It’s a recipe that has stood me well for over fifteen years now. Trust me, this shit works. What ever music you listened to, danced to, freaked your freak to, this springnine nothing will be as medicinal as Tosca and “No Hassle”. Enjoy! Alan Brown, Soul Seduction, Vienna.
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springnine: Live world premiere of Tosca’s new album “No Hassle”, May 22nd, Stefaniensaal.
WHERE I PLUG IN MY LAPTOP IS MY HOME Natalie Brunner über Diplo Diplo ist der gute Onkel, den wir uns immer gewünscht haben. Er ist ständig unterwegs, dort, wo die frischen Beats sprießen. Er sammelt sie ein, pflegt, hegt, remixt sie und macht großartige Mixtapes, die den Sound der Back Alleys und gepimpten Autoanlagen zwischen Kingston und Rio, Philly und East London ins traute Heim bringen, gratis als Geschenk, freie Downloads für uns. Diplo ist ein Kind der 1980er Jahre, das die Wunder und Chancen des Webs 2.0 verstanden hat. Anstatt sich auf langsame, schwerfällige, antiquierte Distributionswege einzulassen, hat er sich selbst via Myspace, Blogs und gratis Downloads ins Bewusstsein und in die Herzen der Menschen gebracht. Obwohl er bei dem Ninja Tune Sublabel Big Dada 2004 ein Album namens „Florida“ veröffentlicht hat, beantwortet Diplo alle Anfragen um Interviews, Bookings und Remixes selbst. Er konnte sich dadurch genau dort positionieren, wo er sein will. Er kann schnell reagieren und erspart der Welt den unnötigen Superstar-Bullshit. Der zu seinem Label Mad Decent gehörende Blog http://maddecent.com/blog ist eine exzellente Adresse, wenn man auf der Suche ist nach frischen noch unreleaseten Tunes und Remixen direkt aus den Studios und Laptops der Musiker, die Diplo auf seiner niemals endenden Tour trifft. Dazwischen findet man Bilder, die das Herz erfreuen, wie Hochzeitsfotos von Iggor Cavalera und Laima Leyton von Mixhell oder die Stylingvorbereitungen der Mad Decent Crew für die Grammy-Verleihung. Und apropos Kind der 80er Jahre. Diplo Bastard Pop Remixe zeugen von einem guten Instinkt für das, was die Generation Rückkehr der Jedi-Ritter in Erinnerungen schwelgen lässt. Es gibt keine falsche Scheu vor peinlichen Lieblingssongs. Diplos Mixe holen den Moment zurück, als man zum ersten Mal vor Begeisterung aufgrund einer Popnummer vor Mamas Küchenradio auf und ab sprang. Rümpft da irgendwer die Nase und motzt, dass Bastardpop seit 2006 schon Niemanden mehr interessiert? Die Nasenrümpfer seien hiermit auf den von Diplo produzierten M.I.A. Track „Paper Planes“ aufmerksam gemacht.
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„Paper Planes“ wurde von M.I.A. und Diplo 2007 geschrieben und produziert. Die Nummer verwendet Elemente von „Straight to Hell“ von The Clash und von „Rump Shaker“ von Wreckx-N-Effect. Kinder aus den Strassen von Brixton singen den Chorus.
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Es ist eine Nummer, der man nicht entkommt und auch nicht entkommen will. Aufgrund des Statements, das die beiden mit „Paper Planes“ setzen, stört es nicht, dass die Nummer gegenwärtig auf zwei Soundtracks zu finden ist, Werbeagenturen weltweit darum kämpfen, Autos und Mobiltelefone damit verkaufen zu dürfen, und die L.A. Dodgers „Paper Planes“ im Stadion als Siegeshymne spielen. „Paper Planes“ war für den Grammy als bester Song des Jahres 2008 nominiert. Nicht schlecht für einen Song, der als Hymne für jene gehandelt wird, die auch ständig unterwegs sind – aber ohne Papiere, ohne Zuhause, konfrontiert mit Anschuldigungen, und deren Musik durch Artists wie Diplo im Clubkontext auftaucht. I fly like paper, get high like planes If you catch me at the border I got visas in my name If you come around here, I make ‚em all day I get one down in a second if you wait Diplo ist ein Mann, der weiß, was Groove bedeutet – nicht nur Genre-, sondern auch Kultur-übergreifend. In einem Interview sagte er: „There seems to be a whole grassroots movement of kids into new and experimental music, and making it themselves. Baile Funk bands from Sweden, Ghetto Club Music in Geneva, Japanese Grime.” Im Süden, in Afrika und in Südamerika entstehen neue Genres elektronischer Musik, ohne finanziellen Rückhalt, getragen von informeller Ökonomie, verbreitet durch selbst gebrannte CDs, Mp3s und lokale Piratenradios. In Städten wie Rio de Janeiro findet man die spannenden neuen Tunes nicht in den Plattengeschäften, sondern auf den Straßenmärkten des Zentrums und der Favelas. Es sind selbst gebrannte CDs, die aus einer Welt abseits der Copyrightgesetze kommen. Einerseits gibt das den DJs und Produzenten unlimitierten künstlerischen Spielraum, andererseits macht es ihnen das Überleben schwer. Es ist quasi unmöglich abgesehen von Auftritten Geld zu verdienen, und es bedarf noch viel Strukturierungsarbeit, bis die aus der Armut kommenden Künstler mit unabhängigen Distributions und Release-Netzwerken mit ihren Veröffentlichungen selbst Geld verdienen werden. Diese Musiken wandern mit Hilfe des Netzes, mit Migranten, die in den Norden kommen, und Katalysatoren wie Diplo, der sein Ohr auf den Strassen Rio, Luandas genau so wie jenen Atlantas’ hat. Seine Favela on Blast Mixtape Serie hat Baile Funk in den Wahrnehmungsradius europäischer Clubbesucher gebracht.
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Anfang des 20. Jahrhunderts war Samba die Musik der Underdogs von Rio. Immer noch lockt der Samba zum Carnaval fast eine Million Touristen nach Rio. Der Beat, in dem die Stadt aber das ganze Jahr pulsiert, ist Baile Funk.
RONIC ELECTS OF LIFE: T C E ASP
AL? DIGIT OG? L ANA UG. DE:B
P HE GA ING T BRIDGINCE 1997 S
Baile Funk oder auch Funk Carioca entstand vor knapp 25 Jahren als Miami Bass, wie zum Beispiel die Platten der 2 Live Crew ihren Weg nach Rio fanden. Kraftwerk und Elektro sind ebenfalls nicht wegzudenkende Einflüsse. Diese importierten Beats kombinierten die DJs und Producer von Rio de Janeiro mit afro-brasilianischer Rhythmik und schufen so den charakteristischen Baile Funk Beat: den Tamborzão, der bis heute die Grundlage vieler Baile Funk Tracks ist. Baile Funk ist in den Favelas entstanden und eng mit ihrer informellen Kultur verknüpft. Dass der Baile Funk erst so spät bei uns ankommt, hat auch mit den schwierigen sozialen Bedingungen zu tun, unter denen die Protagonisten dieser Musikkultur leben, arbeiten und leiden müssen. Die Kombination Putzfrau bei Tag und Baile Funk-Göttin bei Nacht ist keine Seltenheit. Baile Funk ist ein Sound konzipiert für die monströsen Soundsystems der Favelas, der Armenviertel von Rio. Es gibt über 750 Favelas in Rio und die meisten haben ihr eigenes Baile Funk Sound System, das jedes Wochenende in der Versammlungshalle der Gemeinde oder auf der Straße aufgebaut wird. Die Partys sind gratis und finden ohne Genehmigung der Stadtverwaltung statt. Es gibt Schätzungen, dass in Rio pro Monat zwei Millionen Menschen auf den Baile Funks der Favelas ihr Wochenende feiern. Kontrolliert werden die Favelas jeweils von einem der drei großen Drogenkartelle, das bedeutet, dass sie bei den Partys in ihren Gemeinden am Wochenende präsent sind, zum Teil bewaffnet. Dass dies nicht gerade zum guten Image von Baile Funk beiträgt ist auch klar. Während Intellektuelle Baile Funk als originäre Kultur der Favelas sehen und die Texte der MCs als Kriegsreportagen und Spiegel des sozialen Desasters, ist Baile Funk für das Boulevard die Musik von Banditen, und die Polizei wird aufgefordert, mit aller Härte gegen die Szene vorzugehen. Den Entstehungsbedingungen entsprechend hart und explizit sind auch die Texte und der rohe, zornige Sound. Maschinengewehr-Samples sind nicht das, womit die brasilianische Oberschicht ihre Heimat bei Ausstellungseröffnungen und Filmfestivals repräsentiert sehen möchte. Mit minimalen finanziellen Mitteln bzw. ohne ökonomische Grundlagen wurde eine originäre Soundkultur geschaffen, die bis zum heutigen Tag am Wachsen ist und ganz eng mit der Kultur und den Problemen der Favelas verbunden ist. Mit Problemen, die man in Europa aus Filmen wie „Cidade de Deus“ (“City of God”) kennt. Ein Film, der oft als Referenz verwendet wird, wenn über die Kultur der Favelas gesprochen wird. Die Cidade de Deus ist ein Wohnbauprojekt, das bereits in den 1970er Jahren aufgrund infrastruktureller Vernachlässigung der Stadtverwaltung aus den Fugen geraten ist. Aus der Cidade de Deus, der Ost-Zone von Rio, kommt sehr viel guter Funk. Die Funk-Königin Deize Tigrona ist dort zu Hause. Ihren Track „Injeção“ hat Diplo für M.I.A.s „Bucky Done Gone“ gesampelt. Letztes Jahr erschien von Diplo und Deize Tigrona gemeinsam die Single „Bandida“ auf dem Berliner Label Man Recordings.
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„Bandida“ ist ein Meilenstein, der nördliche Clubkultur und Funk Carioca verbindet und sowohl in den Favelas als auch auf dem Asphalt funktioniert.
Es hat Katalysatoren wie Diplo gebraucht, jemanden, der von außen kommt, und der diese Musik auch unabhängig der sozialen Konflikte sehen kann und sie in die Welt hinausträgt. Letztes Jahr hat Diplo mit einem brasilianischem Co-Regisseur und Team die Kinodokumentation „Favela on Blast“ fertig gestellt. „Favela on Blast“ ist benannt nach der Baile Funk-Mixtape-Serie von Diplo und gewährt Einblicke in die komplexe, für Außenstehende nicht so leicht zugängliche Welt des Carioca Funk. Der Film schafft es, die auch visuell überwältigende Welt des Funks einzufangen und zeigt, wie es die Protagonisten geschafft haben, aus dem Nichts eine Kultur zu erschaffen, die sie repräsentiert und für viele auch ein Grund ist, die unzähligen Schwierigkeiten, Gefahren und Demütigungen, die man als Bewohner einer Favela erlebt, zu ertragen. Als ich ihn 2006 interviewte, meinte Diplo: „Von einem Funk Business kann man im Moment nicht sprechen, weil es nur zwei Verlage gibt. Wenn ich den Film fertig gestellt habe, hoffe ich, damit den Menschen zu zeigen, dass es nicht ein kurzlebiger Trend ist, sondern eine faszinierende Subkultur.“ Als Europäerin ist man an Hypes gewohnt. Man hat gelernt, die Kurzlebigkeit und die Konstruiertheit von Trends zu akzeptieren. Diplos Fähigkeit – nicht nur als Produzent von Musik, sondern auch als Rezipient von Musikkulturen – hat in diesem Fall bewiesen, dass da draußen, jenseits des Horizonts der Verwertungsmaschinerie, noch viel Spannendes auf uns wartet.
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springnine: Österreich Premiere von Mad Decent Soundsystem presents Diplo, Fake Blood, Boy 8-Bit, Mittwoch, 20. Mai, Dom im Berg.
WHERE I PLUG IN MY LAPTOP IS MY HOME Natalie Brunner on Diplo Diplo is the nice uncle we always wanted. Constantly on the move, he is always looking for fresh beats. He collects, nourishes and cultivates them, remixes and creates great mix tapes from them bringing the sound of the back alleys and the pimped cars from Kingston and Rio, Philly and East London into our homes. For free. As downloads for all of us. Diplo is a child of the eighties who managed to understand the miracles and opportunities of Web 2.0. Instead of using slow, dull and old-fashioned ways of distribution he came into the public eye and found the way to people’s hearts through Myspace, blogs and free downloads. Although he released the album “Florida” on Ninja Tune’s sub-label Big Dada in 2004, he still responds to all interview, booking and remix inquiries himself. In this way he has managed to position himself where he has always wanted to be. He is able to react quickly and saves the world from the unnecessary superstar bullshit. The blog http://maddecent.com/blog on his Mad Decent label’s website is an excellent address for anyone in search of fresh unreleased tunes and remixes. These come directly from the studios and laptops of the musicians Diplo meets on his never ending tour. At the top, you can find heart-warming pictures, like Iggor Cavalera and Laima Leyton from MixHell’s wedding pictures or the Mad Decent crew’s styling preparations for the Grammies. Speaking of eighties: in the Bastard Pop remixes, Diplo demonstrates his instinct for the things that make the “Return of the Jedi” generation wallow in old memories. There is no reason to be shy about those favorite old songs anymore: Diplo’s mixes bring back the moment when a silly pop-song made us dance in a frenzy in front of mum’s kitchen radio for the first time. So, is there still anybody turning their nose up at Bastard Pop claiming it was outdated in 2006 already? Those people should listen to the M.I.A.-track “Paper Planes”, produced by Diplo. “Paper Planes” was written and produced by M.I.A. and Diplo in 2007. The track combines elements from “Straight to Hell” by The Clash and “Rump Shaker” by Wreckx-N-Effect. Street kids from Brixton are singing the chorus.
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There is no escape from this track, even if we wanted to (although we don’t). The statement being made by the these two with “Paper Planes” allows us forget that the track is currently featured on two soundtracks,
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that advertising agencies all over the world are trying to sell cars and mobile phones with it and that it’s the L. A. Dodgers’ victory anthem. “Paper Planes” was nominated for the Grammy for best song in 2008. Not bad for a song that is considered to be an anthem for those constantly the road. Moving without documents, without a home and often standing accused – it is artists like Diplo who bring these people’s music to the clubs. I fly like paper, get high like planes If you catch me at the border I got visas in my name If you come around here, I make ‘em all day I get one down in a second if you wait Diplo is someone who knows what groove means – not only in crossing genres, but also when it comes to crossing cultures. In an interview he said: “There seems to be a whole grassroots movement of kids into new and experimental music, and making it themselves. Baile Funk bands from Sweden, Ghetto Club Music in Geneva, Japanese Grime.” In the southern hemisphere – in Africa and South America – new genres of electronic music are appearing. Without any financial backing, they are developing within an informal economy and are being distributed through burned CDs, MP3s and local pirate radio stations. In cities like Rio de Janeiro these exciting new tunes can’t be found in record stores, but in the street markets of the city center and the favelas – they are sold as burned CDs in a world far away from the music industry’s copyright policies. While this means unlimited artistic scope for the DJs and producers, the downside is that it can make it hard for them to survive. Virtually the only possible way for them to earn money is by doing gigs and artists from poor backgrounds have a huge mountain of work before they are able build up independent distribution networks and can earn money with their releases. This music is now travelling – through the internet, through migrants, coming to the north and through people like Diplo who keep their ears on the streets of Rio and Luanda as well as the streets of Atlanta. It is the “Favela on Blast” mixtape-series which has brought Baile Funk to the attention of European clubbers. At the beginning of the 20th century, Samba was the music of Rio’s underdogs. It still attracts millions of tourists who come to Carnival every year, although these days it is the beat of Baile Funk that keeps the city pumping year-round. Baile Funk, also called Funk Carioca, came about nearly 25 years ago when Miami Bass and the records of 2 Live Crew found their way to Rio. Other influences include Kraftwerk and electro. The DJs and producers in Rio de Janeiro combined these imported beats with African-Brazilian rhythm and created the typical Baile Funk beat: the Tamborzão that is still the basis for many Baile Funk tracks. Baile Funk has its origins in the favelas and is closely related to their informal culture.
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The reason why Baile Funk has taken so long to get to Europe is also due to the difficult social conditions in which this music culture’s protagonists have to live, work and suffer. For example: cleaning lady by day, Baile Funk goddess by night - this is not unheard of. Baile Funk is a sound designed for the monstrous Sound Systems of the favelas, the shantytowns of Rio. There are more than 750 favelas in Rio and most of them have their own Baile Funk sound system which is put together in the assembly halls or in the streets every weekend. The parties are free and take place without
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permission from the city administration. It is estimated that two million people party throughout the weekend at the Baile Funks in the favelas every month. Each favela is controlled by one of the three large drug cartels, meaning that cartel members are present at the community-parties on the weekends. Sometimes they are armed, too. This is part of the reason behind Baile Funk’s tarnished image. Whilst intellectuals consider Baile Funk to be the original culture of the favelas and the rap-lyrics to be reports from the urban trenches reflecting social disarray, the tabloids see it as the music of bandits and police are required to come down hard action on the scene. Baile Funk’s, lyrics are hard and explicit and the sound is raw and angry which is representative of the social conditions under which it has developed. And unsurprisingly, the Brazilian upper-classes aren’t too keen on their homeland being represented with machinegun-samples at exhibition openings and film festivals. This original sound culture, strongly linked with the culture and the problems of the favelas is still growing and has come into being with minimal financial support and without any economic help. The people in Europe know about these problems from films like “Cidade de Deus” (“City of God”), a movie often cited in connection to favela culture. Cidade de Deus is a housing project, already out of joint by the 70s, as its infrastructure had been neglected by the city’s powers-that-be. Nevertheless, the Cidade de Deus, located in the East of Rio, is a hotbed for Funk, as can be seen by the fact that Funk-queen Deize Trigona, for example, has her origins there. Diplo sampled her track “Injeção” for M.I.A.’s “Bucky Done Gone”. Last year Diplo and Deize Trigona released the single ”Bandida” on the Berlin label, Man Records. “Bandida” is a milestone, connecting northern club culture and Funk Carioca, and has people in the favelas dancing to it as well as on the streets of Europe. It is important to have people like Diplo, someone who comes from outside and is able to see the music separately to its associated social conflicts and can spread it around the world. Last year Diplo finished the documentary “Favela on Blast”. For this movie he was working with a Brazilian team and co-director. The film is named after the Baile Funk mixtape series Diplo has produced and gives us an insight into the complex and not always easily accessible world of Carioca Funk. The film captures the visually overwhelming world of Funk and shows, how the protagonists created its culture virtually from scratch. This culture embodies them and consitutes one of the main reasons why these people can cope with the difficulties, dangers and humiliation they are faced with in the favelas. When I interviewed him in 2006, Diplo said: “One cannot talk about a Funk business at the moment because there are only two labels. Once the film is finished, I hope to be able to show the people that it is not only a short-life trend but a fascinating subculture.” Europeans are used to hype. We have learnt to accept that trends are short-dated and designed. Diplo’s skills, not only as a producer, but as a receptor of music cultures as well, has proven that there are still a lot of exciting things to be discovered far beyond the horizon.
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springnine: Austria Premiere for Mad Decent Soundsystem presents Diplo, Fake Blood, Boy 8-Bit on Wednesday, May 20th, Dom im Berg.
Alexis Waltz Kein anderer Ort verkörpert Berlin als Welthauptstadt der Clubmusik stärker als das Berghain. Kein Partytourist verzichtet auf einen Besuch in dem Club, kein Kenner der Clubmusik zweifelt die meinungsbildende Bedeutung des Ladens an und jeder feierfreudige Berliner findet sich über kurz oder lang dort wieder. Seit seiner Eröffnung im Dezember 2004 hat sich der Club nicht nur als Partytempel bewiesen, sondern auch als Keimzelle für einen der einflussreichsten Technostile der Gegenwart: Die Gruppe der Berghain-Residents mit Len Faki, Marcel Fengler, Marcel Dettmann, Norman Nodge, Fiedel und Ben Klock hat dort einen speziellen, neuartigen Technosound erfunden. Die Bedingungen des Berghain sind einzigartig: Das Volumen des Raums, die bassstarke und ultraklare Function-One-Anlage, das treue Publikum und besonders die bis zu acht Stunden langen Sets haben für die DJs eine einzigartige Auflegesituation erschaffen. Kaum ein großer Club räumt seinen Residents ein derartiges Feld zum Experimentieren ein. „Durch deren enorme Dauer haben sich meine Sets sehr verändert. Die Auseinandersetzung mit der Crowd erreicht eine andere Ebene. Wo man woanders als Peaktime DJ aufhört, fängt man im Berghain erst an. Man muss 100% geben und kriegt 200% zurück“, erzählt Len Faki. In der Laborsituation des Berghainfloors ist ein Sound entstanden, der das Volumen und die Energie von hartem Techno aufnimmt, dessen Tempo aber verlangsamt und so eine neuartige, meditative Tiefe erzeugt. „Die Langsamkeit hat sich nicht bewusst ergeben“, sagt Ben Klock. „Die Technoplatten aus den Neunzigern kriegen eine Sexiness, wenn man sie sechs oder acht Prozent langsamer spielt.“ Dabei ergänzen sich die Residents des Berghains: Marcel Dettman etwa liebt einen schroffen, düsteren Techno und pflegt einen analytischen Umgang mit den Klängen. In Len Fakis opulenterem Auflegestil gibt es ravige Momente, bei Ben Klock ist oft ein untergründiges, subtiles House-Moment herauszuhören.
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Ostgut Ton und Shed Für Len Faki, Ben Klock, Marcel Dettmann, Marcel Fengler und Norman Nodge hat die Situation im Berghain einen besonderen Impuls für ihre Produktionen erzeugt. Als Reaktion darauf gründete einer der Macher des Clubs, Michael Teufele, das nach dem Vorgängerclub benannte Label Ostgut Ton. So unterschiedlich die einzelnen Musiker sind, ihre Platten der letzten drei Jahre können als einer der originellsten neuen Technostile gelten. Labelmanager Nick Höppner kommentiert: „Die Tracks zeigen, dass es um etwas Eigenes geht. Keiner der Technoplatten kann man vorwerfen, dass sie an etwas anknüpfen, das es woanders gerade gibt.“ Diese Musik ist aus dem Bewusstsein der Erfahrung der 1990er Jahre entstanden. Aber sie ist alles andere als nostalgisch, sie sehnt sich nicht in die Vergangenheit zurück.
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Mit ihrer Düsterkeit und ihrem reduzierten Tempo nimmt sie Aspekte der Clubmusik der letzten Jahre auf. Zugleich entfesselt sie eine unfassbare Rohheit und Vitalität, die man sich kaum als Produkt eines anderen Clubs vorstellen kann. „Unter den Kernkünstlern besteht ein hoher Identifikationsgrad mit dem Laden, es ist zwangsläufig, dass der sich über den Raum entwickelt. Die Platten werden hier getestet und gespielt, er ist die Referenz“, sagt Höppner. Und auch Len Faki verortet die Zugehörigkeit der Artists: „Die Kiste macht schon extrem viel aus. Jeder hat seinen eigenen Sound, aber alle passen zu dem Laden. In den unterschiedlichen Releases schließt sich ein Kreis.“ Zu den herausragenden Releases von Ostgut Ton in der letzten Zeit gehört das Debütalbum von Shed. Wenige aktuelle Technoproduzenten arbeiten aus einem so strengen, radikalen Musikverständnis heraus wie der Produzent aus Berlin. Wo Techno heute oft eine housige Note hat, beweist Shed Mut zu Abstraktion: Seine Musik besteht aus einfachen, prägnanten Pattern, die eine meditative, detroitige Stimmung erzeugen. Aber gerade in ihrer Sprödigkeit entwickeln die Tracks eine besondere Offenheit. Weil Shed die musikalischen Figuren nie auflöst, bleibt ihre Spannung immer erhalten. Er kommentiert seinen Ansatz: „Ausformuliertes kann man sich nicht so lange anhören. Meine Tracks sollen nicht widerspiegeln, was ich im Moment ihrer Entstehung hinterher gerannt bin. Das Thema funktioniert über die gesamte Dauer des Stücks, es wird nicht durch einen Break aufgefrischt.“
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Marcel Dettmann und Ben Klock Neben Len Faki gehören Marcel Dettmann und Ben Klock zu den am meisten exponierten DJs des Clubs und zu den aktivsten Produzenten des Labels. Dettmann und Klock verkörpern zwei entgegen gesetzte Berliner Techno-Biographien: Beide sind Kinder der Clubmusik der Neunziger Jahre, aber Klock stammt aus dem Westberliner Bezirk Schöneberg, er war Jazzpianist und Songwriter und hat sein Verständnis von House und Techno in den Clubs von Berlin-Mitte entwickelt. Dettmann wurde in der sehr spezifischen, ostdeutschen Technokultur sozialisiert und hat das größte philosophische Musikverständnis unter den Künstlern des Labels. Die Verbindung der Rebellion gegen alle bisher bekannte Musik mit deren Futurismus weckte in seiner Jugend die Faszination für Techno, die ihn bis heute festhält: „Futuristisch und nachdenklich kann die Musik nur sein, wenn sie düster ist. Positive Musik ist meistens datierter, mich hält das Düstere bei der Stange.“ DJ ist Dettmann seit Mitte der neunziger Jahre, mit dem eigenen Produzieren hat er erst 2006 begonnen. Dabei hat er eine sehr klare Vorstellung von dem, was Techno für ihn ausmacht: „Die Bassdrum eines Stücks ist das Spiegelbild des Künstlers. Techno ist für mich Loop. Aber erst wenn ich einen Loop fünf oder sechs Stunden lang hören kann, nehme ich ihn auf. Wenn in einem Track nach fünf Minuten eine Melodie kommen muss, ist der Sound scheiße. In diesem Fall fange ich was Neues oder geh’ schlafen.“ Ben Klock teilt Dettmanns Roughnessgebot. Die Tracks seiner Sets sind aber weniger spröde. Oft rumort irgendwo eine Melodie, Klocks stilistisches Spektrum wirkt größer. Die Wechsel zwischen
den Platten sind oft packend, Klock arbeitet die Spannung zwischen den einzelnen Tracks sehr genau heraus: entweder die neue Platte intensiviert die Dynamik des vorangegangenen Stücks - oder sie bricht mit ihr. Er sagt dazu: „Ich finde es spannend, wenn die Musik unter das Set gestellt wird, wenn man die Musik benutzt, die für dieses bestimmte Set wichtig ist. Egal, ob es sich um einen eigentlich bereits zu oft gehörten Hit handelt oder um eine alte, unbekannte Platte. Statt sich von Platte zu Platte hangeln, kann es auch mal Daft Punk sein.“ Vor kurzem machte jemand Ben Klock das Kompliment, das bei ihm selbst langweilige Platten spannend klingen. Der Charakter der einzelnen Platte wird durch den Kontext bestimmt, in dem sie erscheint. Dieser kompositorische Ansatz im Bezug auf das Auflegen geht auf Klocks Jugend zurück: Beim stundenlangen Klavierspiel begriff er, dass es ihm wichtiger ist, einzelne Elemente in Zusammenhänge zu stellen, als ein Instrument perfekt zu beherrschen. Ab Mitte der neunziger Jahre war Ben Klock einer der maßgeblichen DJs der Clubs in Berlin-Mitte. Anders als Dettmann veröffentlicht er schon seit den späten Neunzigern Platten, in elf Jahren sind siebzehn Maxis erschienen und zuletzt auch sein gefeiertes Debütalbum, „One“. Auf „One“ wuchern die einzelnen Klangspuren durch den gesamten Klangraum. Das Album befreit die Energien der Clubmusik. Ihre Wirkung entfaltet sich auch jenseits des Clubs: Letztlich wird jeder auf diese Musik stoßen, dem etwas an einer intensiven Erfahrung von Klang liegt. Für den Sound von Berghain und Ostgut Ton gab es außerhalb des Clubs keine Indizien. Die Unabhängigkeit der Zelle ist der Motor ihrer Entwicklung. Beim Berghain und Ostgut Ton gehen Club und Label eine Verbindung ein, für die es in der Technogeschichte keine Vorbilder gibt: alle Produzenten auf dem Label sind gleichzeitig DJs im Club - Musiker und Macher konzipieren den Club selbst als Produktionszusammenhang.
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springnine: Der Clubsound von Berghain präsentiert durch das OstGut Ton Label ist im Rahmen von absolutely spring, Freitag, 22. Mai, Joanneum, zu erleben.
Alexis Waltz There is no place like Berghain when it comes to defining Berlin as the world capital of club music. Not a single party tourist would forgo entering the club, no true connoisseur of club music would dare question its position as an influential institution and any of the Berlin party regulars find themselves back there every so often. Ever since opening in December 2004, the club has shown time and again that it entirely merits its position as a Mecca for club-goers and as the birthplace of one of the most influential techno styles of today. The crew of resident DJs including Len Faki, Marcel Fengler, Marcel Dettmann, Norman Nodge, Fiedel and Ben Klock has been the creating force behind a particular and innovative techno sound. Due to its massive capacity, the ultra clear, bass-intensive Function-One sound system, its loyal crowd and sets that take up to eight hours, Berghain (literally meaning mountain grove) provides unique working conditions for its DJs. It is hard to find a venue of Berghain’s size that grants its residents a similar scope to experiment. “The extended set times have changed what I can do considerably. Interaction with the crowd reaches a whole new level. The point at when you would be finishing your set as a main act DJ at other venues is when it is all just getting started at Berghain. You’ve got to give 100% but you get 200% back”, says Len Faki. Berghain’s lab-like conditions have helped breed a sound which comprises the volume and energy of hard techno, yet which is slower in pace, and thus creates a new kind of meditative depth. “The slowness didn’t arise consciously“, says Ben Klock. “It’s just that techno records from the ‘90s are somewhat sexier if you play them at a pace about six to eight percent slower than the original.” The Berghain resident DJs complement one another perfectly: While Marcel Dettman loves a more abrupt and sinister kind of techno and has an almost analytical approach to creating sounds, Len Faki prefers a more opulent style which includes ravy moments. Ben Klock’s sets often feature subtle housey undertones. Ostgut Ton and Shed The setting at Berghain has created a particular momentum for Len Faki, Ben Klock, Marcel Dettmann, Marcel Fengler and Norman Nodges’ productions. As a result Michael Teufele, one of the founders of the club, launched the label Ostgut, named after Berghain’s predecessor. Featuring a diverse range of artists, the label has become the breeding ground for one of the most original techno styles to emerge within the last three years. The label’s manager Nick Höppner observes, ”the tracks clearly show that this is something unique. None of the records tie into any other techno style”. The sound has evolved from a conscious experience of the 1990s. It is, however, anything but nostalgic, as it isn’t yearning for the past.
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With its gloominess and reduced tempo, the sound of Ostgut Ton takes on aspects of current club music styles while at the same time unleashing a certain rawness and vitality that is hard to grasp and cannot be imagined as having originated elsewhere. “There is a high degree of identification with the venue amongst our core artists which is inherent as this is the place where the records are first played and tested. The club serves as a benchmark,” says Höppner. Len Faki demonstrates that the artists share this view, “The venue does have a big impact. Each of us has our own sound but we’re all in line with the club. Our various releases complete a kind of circle. Shed’s debut album is probably one of the most outstanding recent releases. There aren’t many contemporary techno producers who at the same time have both such a demanding and radical grasp of music. Where other techno producers add a housey touch, Shed has the courage of the abstract. His music is composed of simple, laconic patterns which create a meditative Detroit-esque mood. It is in this brittleness that the tracks develop a certain kind of candour. The suspense is maintained as Shed never breaks from the musical figures he employs. Asked about his approach Shed says, “Explicitness is nothing that’s easy to listen to. My tracks aren’t meant to reflect what I was after at the moment of creating them. The theme is meant to work for the whole track ,so there is no break to refresh or revitalise it”.
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Marcel Dettmann and Ben Klock Marcel Dettmann and Ben Klock, along with Len Faki, are both the most exposed DJs and most active producers at the club. Dettmann and Klock embody two quite contrasting Berlin techno biographies. Both are children of the 90s’ club scene. Klock hails from the West Berlin borough of Schöneberg, used to be a jazz pianist and songwriter, and developed his grasp for house music and techno through the Berlin Mitte clubs. Dettmann, on the other hand, cut his teeth in the specifically Eastern German techno culture and demonstrates the most philosophical musical understanding of any of his fellow artists on Ostgut Ton. His ongoing fascination with techno was initially triggered by its combination of rebellion against existing musical styles and an inherent futurism; “Music can only be futuristic and reflective if it is gloomy. Positive music usually sounds dated, it’s the darkness that keeps me at it.” Dettmann has been working as a DJ since the mid 1990s and started producing in 2006. He has a clear concept of what techno should be about, “The bass drum reflects the artist. Techno is all about the loop to me. It’s only when I listen to a single loop for five or six hours that I’m able to take it in. If a loop is followed by a melody after five minutes, the sound sucks. In this case I either start something new or I go to bed.”
Ben Klock shares Dettmann’s doctrine. His sets, however, feature tracks that display less of a roughness. At many times there is a melody lurking around, demonstrating Klock’s somewhat broader stylistic spectrum. The change-overs in between records are often haunting. Klock has a precise approach to creating tension in between tracks: He either intensifies the dynamics of the preceding track or he breaks them. Asked about this approach he says, “I find it exciting when the music is regulated by the set itself, when the particular piece of music used is important to the particular set it is used in. It doesn’t matter if it’s an overplayed hit or an old unknown record. Instead of just scraping through from one track to the next, I find it totally OK to put in some Daft Punk.” Ben Klock has recently been complimented for his skill of making otherwise boring records sound exciting. The nature of each track is determined by the context of the entire set. This compositional approach to DJing can be traced back to Klock’s youth. Long hours spent playing the piano made him realise that it is more important to connect singular elements than to excel at mastering a musical instrument. Ben Klock has been one of the most significant Berlin Mitte DJs since the mid-1990s. Unlike Dettmann, he has been releasing records since the late 1990s. There have been 17 singles over eleven years and most recently his critically acclaimed debut album “One”. On the album, the musical elements combine and cross the entire musical spectrum as the energies that lie within club music are freed. But they don’t disappoint in showing their potential outside of the club setting. This album is almost certain to satisfy anyone looking for the ultimate sound experience. Until now, there has been no sign of the sound of Berghain and Ostgut Ton outside of the club sphere. Autonomy has been the key to their development. At Berghain and Ostgut Ton, club and label have merged in a way unprecedented in techno history: All the label’s producers are also DJs in the club. Musicians and gogetters have got together to produce something totally new.
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springnine – absolutely spring: The sound of Berghain presented by OstGut Ton Label, May 22, Joanneum.
„Es war nicht immer leicht für mich“ Der Pop-Grenzgänger Christian Fennesz erzählt über das musikalische Schubladendenken der Österreicher, kompromissloses Arbeiten, sein Stehvermögen auf einem Surfbrett und wie fordernd Japan sein kann. Ein Interview. Tiz Schaffer Einige Monate im Jahr kann man Christian Fennesz in Wien begegnen. Etwa wenn der gebürtige Burgenländer in seinem Studio im siebten Gemeindebezirk an einem neuen Album arbeitet, nicht gerade auf Tour ist oder in seinem Refugium in Paris. Sein letztes Album, „Black Sea“, ist Ende letzten Jahres erschienen. Nach „Endless Summer“ (2001) und „Venice“ (2004) gelang ihm wieder ein kleines Meisterwerk, das seinen Ruf als international gefragter Musiker zwischen Pop und Avantgarde eindringlich untermauert. Unaufgeregte, abstrakte Gitarrenarbeit und Popharmonien, digitale Soundtüfteleien und analoge Wärme, Experiment und formale Bedachtheit: Scheinbar unbeirrbar hat der 46-Jährige an der Entwicklung seines unverkennbaren Stils gearbeitet. Nicht nur Auftragsarbeiten für Film, Tanz oder die Kunstszene stehen an der Tagesordnung, immer wieder befand und befindet er sich in kleineren oder größeren Bandprojekten (Fenn O´Berg, Orchester 33 1/3) und steht regelmäßig mit Ausnahmekünstlern wie Ryuichie Sakamoto oder Mike Patton auf internationalen Bühnen. Am Donnerstag, 21. Mai, ist Christian Fennesz bei springnine zu sehen. springnine: Sie waren unlängst zwei Wochen in Japan auf Tour. Wie ist es gelaufen? Christian Fennesz: Gut. Ich habe solo und auch zusammen mit Ryuichie Sakamoto gespielt. Meine Plattenfirma in Japan hat mich total eingeteilt, die machen das immer so. Ich musste täglich Interviews geben, Promotion-Termine wahrnehmen und ständig Leute treffen. Sehr anstrengend, aber auch schön. Ich bin sehr gerne in Japan. Nimmt das bei Ihnen in Japan schon Popstar-Dimensionen an?
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Ich bin sicher bekannt in der Musikszene dort, Popstar kann man mit meiner Art von Musik ohnehin nicht werden. Aber sie hat in Japan einen wesentlich höheren Stellenwert als etwa in Österreich oder Deutschland. In Japan wird nicht viel Unterschied gemacht zwischen Popmusik, klassischer Musik und etwa dem, was ich mache. Das alles hat den gleichen künstlerischen Stellenwert.
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Sind wir in Österreich diesbezüglich etwas konservativ? Ich denke, das größte Problem bei uns ist diese wahnsinnig dämliche Unterscheidung in U- und E-Musik. Meiner Meinung nach bringt das alles um. In Japan wird nicht soviel kategorisiert. Dadurch bekommen die Leute einen anderen Zugang und können besser damit umgehen. Dort könnte ich jederzeit in einem Rock-Club auftreten und das wäre völlig selbstverständlich. Selbstverständlich ist es für Sie, in den verschiedensten Kultursparten tätig zu sein. Und Sie treten bei einem Jazzfestival ebenso wie jetzt bei springnine auf. Müssen Sie Kompromisse eingehen? Nein. Und das wird glücklicherweise meist akzeptiert. Ich möchte mich nicht für verschiedene Szenen adaptieren. Bei Jazzfestivals werde ich oft zu Kooperationen eingeladen, da läuft die Sache natürlich ein bisschen anders, weil ich mich auf die Musikerkollegen einlassen muss. Was Ihre auf Tonträger gebannte Arbeiten betrifft scheinen Sie in den letzten Jahren ebenfalls kompromisslos gewesen zu sein. Ab einem gewissen Zeitpunkt wusste ich genau, was ich wollte und habe auch darauf beharrt. Ich denke, dass sich eine solche Herangehensweise auszahlt. Eine Idee zu haben, von dieser überzeugt sein und sie mit den Jahren zu verfeinern. Das ist wahrscheinlich besser, als ständig neue Dinge zu suchen, wo man sich profilieren könnte. War das auch ein Kampf?
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Es war nicht immer leicht für mich. Es gab schon Zeiten, in denen ich auch verzweifelt oder verunsichert war. Aber in den letzten Jahren hat es gut funktioniert. Ich bin glücklicherweise nie vor der Entscheidung gestanden, etwas Gefälligeres machen zu müssen, um weiter existieren zu können. Ich kann das machen, was mir am meisten Freude bereitet, was mich fasziniert und kann auch davon leben. In diesem Sinne bin ich sicher privilegiert.
Sie haben in den letzten acht Jahren drei Studioalben eingespielt. Das ist nicht gerade viel. Es gab nie die Möglichkeit einmal zwei, drei Monate im Studio zu sitzen. Vor allem muss ich auch das Gefühl haben, mit der Musik etwas aussagen zu können. Wenn ich meine, es ist als Statement nicht ausreichend, dann lasse ich es einfach. Jedes Album muss für mich Gewicht haben. Und das braucht bei mir eben ein bisschen länger. Da betreibe ich lieber kleinere Projekte und warte, bis die Inspiration wieder kommt. In welcher Form wird Ihr aktuelles Album „Black Sea“ bei springnine zu hören sein? Meine Auftritte sind stark improvisiert. Ich improvisiere, um Teile von Tracks herum oder mische einzelne Parts wieder neu zusammen. Es sind also Interpretationen von schon bestehenden Tracks. Jedes Konzert soll eine Herausforderung und ein Unikat sein. Ihre Anfänge hatten Sie mit der experimentellen Rockband Maische, Ihre Liebe zu den Beach Boys ist allgemein bekannt, auch Neil Young schätzen Sie. Was hat Sie eigentlich in diese abstrakten Gefilde verschlagen?
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Erstens war es die Lust und die Freude am Experimentieren. Es war immer spannend, den Gitarrensound weiterzuentwickeln oder mich mit Samplern oder diversen Effektboxen zu spielen. Dazu kommt, dass in den späten Achtzigern oder Neunzigern mit Rockmusik in Österreich nichts zu holen war. Die Szene war dermaßen ummauert, da ist man einfach nicht rausgekommen. Ich wollte etwas machen, das nicht in einer englischen oder amerikanischen Tradition steht. Das war damals ja das Einzige, das zählte. Außer Kraftwerk oder den Einstürzenden Neubauten hat es nicht viel gegeben. Mit der aufkeimenden Techno-Szene in Wien kamen dann auch die ersten experimentelleren DJs wie etwa Peter Rehberg. Gemeinsam haben wir schon einen Sound kreiert, der anders war.
Sind es gerade diese speziellen Standpunkte, die es einem Österreicher ermöglichen auch international zu reüssieren? Ich denke schon. Allerdings bin ich nicht hergegangen und habe mir überlegt, wie ich international bekannt werden kann. Es hat sich einfach so ergeben. Techno war ein Befreiungsschlag. Plötzlich konnte man selbst produzieren, war unabhängig von Studios und von Plattenfirmen. Dass sich meine Musik so entwickelt hat war allerdings ein langsamer, evolutionärer Prozess. Es gab diese Faszination an den elektronischen Möglichkeiten und gleichzeitig auch mit der Gitarre diese Anbindung an die Vergangenheit. „Endless Summer“ nennt sich nicht nur Ihr Album aus dem Jahr 2001, es ist auch der Titel des sehr einflussreichen Surf-Films von Bruce Brown, Ihre Begeisterung für die Beach Boys wurde bereits erwähnt. Sind Sie eigentlich jemals selbst auf einem Surfbrett gestanden? Es gab eine Zeit, wo mich die Surf-Kultur sehr interessiert hat. Mein Bruder lebt in Bali, surft auch ziemlich gut und hat es mir auch ein bisschen beigebracht. Ich bin mehrmals auf einem Brett gestanden, leider auch schnell wieder runtergefallen. Den Film hat mir auch mein Bruder empfohlen. Das Surfertum ist ja fast wie eine Religion, das hat mich eine Zeit lang fasziniert. Mit Mike Patton sind Sie öfters gemeinsam auf der Bühne gestanden. Wäre ein Album mit ihm nicht eine schöne Sache? Oder würde es Sie nicht reizen, einmal ein astreines Pop-Album einzuspielen? Ja, absolut. In Mai wird eine Zusammenarbeit mit Mark Linkous von Sparklehorse erscheinen. In Folge haben wir vor, ein gemeinsames Album aufzunehmen. Es gibt also schon Überlegungen mal was richtig Poppiges zu machen. Auch ein Album mit Mike Patton ist geplant. Momentan ist er sehr beschäftigt, weil eine Faith No More-Reunion ansteht. Ich bin von der Reunion sehr überrascht, habe aber keine Ahnung, wie das gelaufen ist. Jedenfalls mussten wir deshalb schon gemeinsame Konzerttermine absagen. Vorerst werden wir Material der gemeinsamen Auftritte als Live-Album veröffentlichen. Dann schauen wir weiter.
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springnine – absolutely spring: Fennesz spielt am Donnerstag, 21. Mai, live im Joanneum.
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“It wasn’t always easy for me” Pop-frontiersman Christian Fennesz speaks about the Austrian tendency of musical pigeon-holing, his uncompromising work attitudes, his surfing skills and the challenges of touring Japan. An Interview. Tiz Schaffer For a couple of months a year, there’s a chance you’ll find Christian Fennesz in Vienna. That’s when Fennesz, a native of the Austrian province of Burgenland, isn’t touring or spending time at his refuge in Paris, but is working on his new album in his Viennese studio. His latest album “Black Sea” was released at the end of last year. It turned out to be yet another masterpiece, following in the tracks of “Endless Summer” (2001) and “Venice” (2004) and it stands to confirm Fennesz’s reputation as an internationally sought-after musician oscillating between pop and avantgarde. Unagitated, abstract guitar works and pop harmonies, digital sound tinkering and analogue warmth, experimenting and formal prudence: The 46 year old has been seemingly unflinching in the development of his own distinctive style. Besides commissioned works for films, dance productions and the art scene, Fennesz has frequently been involved in band projects (Fen O’Berg, Orchester 33 1/3) and regularly performs with exceptional artists, such as Ryuichi Sakamoto and Mike Patton. On Thursday, May 21st, Christian Fennesz will be playing at springnine. springnine: You’ve recently been touring Japan. How did it go? Christian Fennesz: Good. I was playing solo, as well as together with Ryuichi Sakamoto. My Japanese label put me on a very tight schedule, as they tend to do. I had to give interviews on a daily basis, keep appointments and meet people constantly. Very exhausting, but also nice. I enjoy being in Japan. Have you reached the status of a popstar in Japan?
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Well, I’m certainly no stranger to the Japanese music scene but you can’t really become a popstar with the kind of music I’m making. It is, however, seen as significantly more important in Japan than in Austria or Germany, for instance. People in Japan don’t really differentiate between pop music, classical music and music of the kind that I’m making. They all have the same artistic value.
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Are Austrians somewhat conservative in that respect? I think the biggest problem in Austria is that we have this incredibly daft differentiation between ’serious’ and ’light’ music. This kills off everything, in my opinion. In Japan there aren’t quite as many categorisations. This allows people a different kind of approach to music and enables them to handle it in a better way. I could perform at a rock club there at any time and it wouldn’t be any kind of an issue. It goes without saying that you’re active across the cultural spectrum. You are performing at jazz festivals as well as at springnine. Does this require you to make any compromises? No. Fortunately this is usually accepted. I don’t like the notion of adapting myself to different scenes. At jazz festivals I get invited to collaborate a lot. That, of course, is a different story, as I have to get involved with the other musicians. You also seem to have been uncompromising in regard to the works compiled on your records. From a certain point in time I knew exactly what I wanted and I insisted on just that. I think an approach like this pays off in the end, to have a certain idea that you’re convinced of and to refine it over the years. It’s probably better than to constantly look for new things in order to make a name for yourself. Has it been a struggle for you? It wasn’t always easy for me. There have been times when I had my doubts and was insecure. But it has been going quite well over the last few years. Luckily, I have never been faced with the situation where I have had to decide to be more compliant in order to survive. I get to do the things I enjoy the most, the things that captivate me and make a living out of it. In that respect, I certainly feel privileged. You’ve recorded three studio albums in the course of the last eight years. That isn’t really a lot.
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The opportunity to spend time in the studio for two or three months never really arose. Above all, I have to have the feeling that I am able to express something through my music. If I feel that it isn’t sufficient as a
statement, I simply let it be. Every album has to have a certain weight for me. And this process takes a while, in my case. So, I prefer to have a couple of smaller projects going and wait until inspiration strikes again. How will you present your latest album “Black Sea” at springnine? My performances are of a strongly improvised nature. I improvise around parts of tracks or remix certain segments. They become interpretations of existing tracks. Every concert is meant to pose a new challenge and to be one-of-a-kind. You started off in the experimental rock band Maische, your love for the Beach Boys is a matter of common knowledge and you also admire Neil Young. Just what made you end up in this abstract musical region of yours? First of all it was my desire and love for experimentation. It has always been exciting to me to refine guitar sounds or to tinker with samplers or various kinds of effect boxes. Besides, you weren’t going to get very far with rock music in the late 80s and 90s in Austria. The scene was self-contained to such an extent that you just couldn’t get out of it. I wanted to do something that didn’t stand in the Anglo-American tradition, which was the only thing that counted at the time. There weren’t many alternatives besides Kraftwerk or Einstürzende Neubauten. The burgeoning Techno scene in Vienna attracted the first experimental DJs such as Peter Rehberg. Together with them we created a sound that was different. Do you think it’s this particular kind of attitude that enables Austrians to succeed internationally?
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I do think so. However, it has to be said that I didn’t just go along thinking of ways to break through internationally. That’s just how it turned out. Techno was an act of liberation to me. Suddenly you could produce by yourself, you were independent from studios and record labels. The fact that my music developed the way it did, was a slow, evolutional process. There was a certain fascination with what was possible electronically while at the same time there was also the guitar as a link to the past.
“Endless Summer” is not only the name of your 2001 album but also the title of a very influential surf film by Bruce Brown. Your enthusiasm for the Beach Boys has already been mentioned. Have you ever stood on a surf board? There was a time when I was very interested in surf culture. My brother lives in Bali, and is a good surfer, so he’s taught me some. I’ve stood on a surf board several times but always fell off after a little while, I’m afraid. The film was recommended to me by my brother. The surfing scene is almost like a religion, that’s what fascinated me for a while. You have performed together with Mike Patton a couple of times. Wouldn’t it be nice to record an album with him? Other than that, wouldn’t you be excited about recording a straight pop album? Yes, absolutely. A collaboration with Mark Linkous from Sparklehorse is being released in May. We’re planning to record an album together following the release. So, I am considering doing something really poppy. There are also plans for an album with Mike Patton. He’s very busy at the moment because of the upcoming Faith No More reunion. I’m very surprised by the reunion but I have no idea how it came about. Anyway, we had to cancel a couple of concert dates because of it. For the time being we’ll release material from our gigs as a live album. Then we’ll see.
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springnine – absolutely spring: Fennesz will be playing a live show on Thursday, May 21st at the Joanneum.
BRING THAT BEAT BACK SPRINGNINE IS RECORDED FOR RED BULL MUSIC ACADEMY RADIO TUNE IN AT RBMARADIO.COM
absolutely spring in Kooperation mit absolutely free – der Woodstockeffekt, Landesmuseum Joanneum Graz absolutely free nimmt 40 Jahre Woodstock zum Anlass, die heutigen Jugend- und Popkulturen zu feiern und gleichzeitig zu hinterfragen, ob und wie sie heute noch die Welt verbessern können oder wollen. Das legendäre Festival hat sich in den Köpfen und Geistern der Menschen eingebrannt als ein Symbol für die damalige internationale Protestbewegung gegen dekadenten Wohlstand, Konsum und Vietnamkrieg. Aber wie hat sich das Phänomen Woodstock in der Steiermark ausgewirkt? Hinterlässt die drei Tage lang erprobte und gelebte Utopie eines neuen Miteinanders von Love, Peace und Protest auch heute noch Spuren in der Gesellschaft? absolutely free thematisiert, fragt nach und bietet den heutigen Jugend- und Popkulturen eine Auftrittsfläche, um sich und ihr Potential zu erproben. absolutely free beginnt im Gestern, es beschreibt und aktiviert das Heute. Das Projekt versteht sich als Schleuse in die Gegenwart, die auf unterschiedlichen Ebenen zu Tage tritt: in einer Ausstellung, einem Musik- und Performance-Programm und einer soziokulturellen Skulptur, dem Neuland, das sich als temporäre Plattform versteht, wo sich Menschen aus lokalem bzw. überregionalem Kontext treffen und wechselseitig in ihrer Suche nach einer selbstbestimmteren, freieren Welt für alle inspirieren. Mit absolutely spring treffen zwei Festivals aufeinander: springnine und absolutely free kooperieren und präsentieren ein ausgefeiltes Programm, kuratiert von Christoph Marek: Zu erleben sind Fennesz, Skinnerbox und b.fleischmann. Das Ostgut Ton Label öffnet mit den Residents des Berliner Clubs Berghain, Marcel Dettmann, Shed und Ben Klock, die Türen für deepen Techno in Graz. Der britische Bassist Sneaky spielt ebenso wie DJ Marcelle alias Another Nice Mess.
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absolutey free – der Woodstockeffekt: Ausstellung und Veranstaltungsserie im Landesmuseum Joanneum, Graz, vom 1. Mai bis 16. August 2009. www.absolutely-free.at
Die Kunst der Überraschung DJ Marcelle/another nice mess Wie oft fragen mich Veranstalter, Journalisten und Musik-Interessierte, welche Art von Musik ich denn spiele? Obwohl mir diese Frage so häufig gestellt wird, bin ich jedes Mal auf das Neue irritiert, wenn ich sie höre. Warum muss es eine Art von Musik sein, am liebsten nur eine Richtung?
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Ich versuche, eine simple Antwort zu vermeiden, und verweise auf einen Vergleich, den diverse Menschen, die mich kennen, gemacht haben: ich sei der „weibliche John Peel“. Doch diese Antwort, so sehr sie mich ehrt, erscheint mir unzureichend. Ich will nicht in eine Schublade geschoben werden!
Und das ist für mich die Essenz meines DJ-Stils: absolute Freiheit und der Drang, dem Publikum stets voraus zu sein. Das Publikum ist meistens definitionsgemäß konservativ, es möchte hören, was es bereits kennt und mag keine Überraschungen, selbst in „progressiven“ Musikszenen. Ich mag es, die Dinge in unbekannte Gefilde zu lenken – das ist meiner Meinung nach das, was jede Musikszene zum Überleben braucht. Sich selbst auf ein einziges musikalisches Genre zu beschränken ist eine Schande. Dann lässt man so viele Möglichkeiten aus. Auf meinem letzten Mix-Album mische ich traditionelles Trommeln aus Afrika mit britischen Rap cutting edge, chinesischen Dub mit österreichischem Akkordeonspiel, heftigen, bass-lastigen Dubstep mit Tierlauten, Breakcore mit Postpunk und Minimal Techno mit Acid-Gesängen. Ich kombiniere Lee Perry’s bizarren Dub mit dem Minimal Groove von Sleeparchive, gefolgt von Super Negro Bantous, den die weibliche Stärke der Warrior Queen ablöst. Diese wilde Mischung kann so viel Spass machen und solch eine Inspiration sein. Nicht zu wissen, wohin es einen ziehen wird und diese Reise zu genießen – das ist für mich etwas sehr Wesentliches in meinem Leben und demzufolge beim DJ-ing. Die zwei Bereiche lassen sich nicht trennen. Vor einigen Monaten besuchte ich eine Dubstep-Nacht in meiner Heimatstadt Amsterdam. Nachdem ich Dubstep seit Jahren in meinen Live-Sets und in den diversen Radiosendungen spiele, habe ich mich sehr auf diesen Abend gefreut. Allerdings war es keine großartige Erfahrung, obwohl es unter psychologischen Aspekten durchaus interessant war, wie eindimensional das alles war. Ich war überrascht von dieser „Gewohnheit“. Ein DJ nach dem anderen folgte demselben musikalischen Weg. Vielleicht erfahren wir, wie jede (für mich) neue aufregende musikalische Form von ihren eigenen Fans zur Strecke gebracht wird, weil sie einen wesentlichen Punkt übersehen: die bloße Begeisterung über die List der Schöpfung und der Entwicklung.
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Auf gewisse Weise ist die musikalische Form irrelevant. Ich war von so vielen verschiedenen Musikrichtungen fasziniert. Und jedes Mal noch haben sich die Versprechungen und der Sinn und Zweck dieser neuen Musikstile nicht zur Gänze erfüllt, weil sich die Mehrheit der Beteiligten auf ihren Lorbeeren ausgeruht hat. Meine erste „wahre“ musikalische Liebe war 1976-1977 Punk („Oh Bondage Up Yours!“), – abgesehen von Mud, Suzi Quatro und Slade, die ich nicht zähle –, aber es war der Postpunk, der meine musikalischen Ideen formte. Die Bereitschaft zu experimentieren,
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unbekannte musikalischen Territorien zu entdecken und sie miteinander zu kombinieren sowie das Gefühl von Freiheit, das Bands wie The Slits, Delta 5, PIL („Metal Box“!), The Fall, Kleenex, Au Pairs, The Raincoats, ESG, The Pop Group, Rip, Rig & Panic oder Throbbing Gristle vermitteln, inspirieren mich bis heute. Bezüglich meines DJ-Daseins bedeutet das: Sie sollten mich nicht fragen, “welche Art von Musik spielst du?”, sondern sich stattdessen auf das Experiment der Überraschung, des Wunders und großartiger Dance-Ability einlassen – denn diese Frau kennt ihren Bass! Ein Bass, der durch die Sohlen Ihrer Schuhe sickert, Ihren Körper durchschüttelt und Sie an der Gurgel packt und atemlos macht. Ein Bass, von dem man getragen wird.
Ich versuche eine Geschichte zu erzählen und die Menschen bei den Händen zu nehmen und auf einen Spaziergang in unbekannte Gegenden zu führen. Kartenlesen und Orientierung waren nie meins! Ich mag es, Platten zu spielen, die einen erstaunen, die voll bizarrer und unerwarteter Wendungen sind – in der einen Minute glaubst du, wie wunderschön das Leben klingt, in der nächsten wie furchterregend und unmittelbar darauf wie unglaublich lustig. Das bringt mich dazu, mit neuen Platten und Mixes während der Sets zu experimentieren. Permanent jongliere ich zwischen einer leidenschaftlichen Dringlichkeit und am Rande des Scheiterns. Unfälle können passieren – so ist das im realen Leben. Das Publikum wird nicht bloß unterhalten, es wird permanent gefordert. Und wenn alles gut geht wird es ein unglaublicher Abend. Musik ist für mich keine Möglichkeit des Eskapismus, sondern eine Art zu leben, eine Art Politik. Ich bin überzeugt davon, dass jeder einzelne, bestimmte Musikstil besser klingt, wenn man ihn gegen einen anderen Track eines anderen Stils spielt. Es macht die Zuhörer lebendiger und bezieht sie mehr in das Geschehen ein. Du weißt nie, was du bekommen wirst. Und die DJane gibt nicht an und verhält sich kühl, sie ist nur schwer damit beschäftigt, die Platten simultan auf aufregende Weise zu spielen. Vinyl ist auf dieser Reise unverzichtbar, sowohl aus ästhetischen, als auch aus hörbaren Gründen. CDs und MP3s mag ich nicht, sie haben keine Seele und kein Gewicht, und ich denke, dass die „Qualität“ von DJ-Sets und Radiosendungen manchmal dadurch abnimmt, dass es zu leicht und zu billig ist, an Musik zu kommen und die Menschen dadurch weniger kritisch sind.
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Eine Folge meiner Arbeitsweise ist, dass sich regelmäßig Leute bei mir bedanken, die nicht denselben “alternativen” Background haben wie ich. Ich habe mit zeitgenössischen Tänzern, Jazzmusikern und Musikern der älteren Generation gearbeitet, wie mit Hans-Joachim Irmler, dem Gründungsmitglied von Faust. Als ich 2007 beim Klangbad Festival, das Irmler kuratierte, in Scheer im Süden Deutschlands gespielt habe, brachte ihn mein DJ-Stil aus der Fassung. Er musste zugeben, ich hatte ihn zum ersten Mal in zwanzig Jahren zum Tanzen gebracht. In meiner Art aufzulegen entdeckte er denselben cutting edge Geist, mit dem er selbst Musik macht, und lud mich ein, im Studio von Faust ein Mix-Album aufzunehmen. Während der Aufnahmen beschränkte sich seine Produktion vor allem darauf, herrliches Essen
zuzubereiten, spazieren zu gehen und in einer absurden Schürze ins und aus dem Studio zu tanzen. Ich meinerseits hatte mich auf die Aufnahmen „vorbereitet“, indem ich mich im winzigen Dorf Scheer (zur Fassungslosigkeit aller) verlaufen und meinen Finger in einer Tür eingequetscht hatte! In einer derartigen Atmosphäre kann nichts (mehr) „schief gehen“. In einer überwiegend von Männern beherrschten Szene finde ich es eine Schande, dass so viele DJanes den Fehler machen, zu versuchen, es ihren männlichen Kollegen gleich zu tun und auf die Technik und fehlerloses, eindimensionales Mischen fokussieren, anstatt auf die eigenen Stärken zu setzen. Bedient euch der Inspiration, der Erkundung und lässt die „Regeln“ links liegen! Warum spielen wir nicht viel mehr mit dem Bild dessen, wie ein DJ sein sollte? Wie singt Scout Niblett in ihrer Version von „Uptown Top Ranking”, dem letzten Track meines Albums, mit dem ich für gewöhnlich meine Gigs beende: “I got no style, I’m strictly roots”. Marcelles aktuelles Mix-Album “DJ Marcelle/Another Nice Mess Meets Her Soulmates At Faust Studio Deejay Laboratory” ist (als Doppel-LP) am deutschen Klangbad Label erschienen. Neben ihren Gigs macht die holländische DJane wöchentliche und monatliche Radiosendungen für Rundfunkstationen in den Niederlanden, in England und Deutschland – insgesamt siebzehn Stunden Musik, ausgewählt und zusammengestellt von DJ Marcelle. www.anothernicemess.com www.dandelionradio.com/marcelle www.fsk-hh.org/sendungen/another_nice_mess www.myspace.com/djanothernicemess
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absolutely spring @ springnine: 21., 22., 23. Mai, Joanneum. DJ Marcelle spielt am 23. Mai ein DJ-Set.
absolutely spring in cooperation with absolutely free – the Woodstock effect, LM Joanneum, Graz 2009 sees the 40th anniversary of the legendary Woodstock Festival. absolutely free will use the occasion as an opportunity to celebrate present-day youth and pop culture while at the same time pose the question of if it is possible, or even desirable, to try and fix the current world mess. The legend of Woodstock has been etched into the heads and souls of people representing the time’s protest movement against decadence, consumerism and the Vietnam war. So what effect has the Woostock phenomenon had in Styria? Has the three day utopian gathering of love, peace and protest left any visible traces in today’s society? absolutely free tackles these issues and also offers today’s youth and pop culture a platform where they can show their potential.
absolutely free starts with days gone by, but describes and invokes the modern day. It has been conceived as multi-faceted portal between the 60s and present: this consists of an exhibition, a series of music and art performances as well as a socio-cultural sculpture – Neuland –, which is a temporary platform for locals and people from other regions to meet and inspire each other in the search for a more self-determined and freer world. At absolutely spring, two festivals meet: springnine and absolutely free work together to present a packed program, curated by Christoph Marek. Fennesz, Skinnerbox and b.fleischmann will be peforming. For technoheads, the Ostgut Ton label give us Marcel Dettmann, Shed and Ben Klock, all residents at Berlin’s Berghain club,. Other artists playing include British bassist, Sneaky and. And last but not least DJ Marcelle, alias Another Nice Mess, ,spinning the decks.
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absolutey free – the Woodstock effect: An exhibition and series of events at LM Joanneum from 1st May to 16th August 2009 www.absolutely-free.at
AUSSTELLUNG UND VERANSTALTUNGSREIHE AM LANDESMUSEUM JOANNEUM VON 1. MAI BIS 16. AUGUST 2009 absolutely free. Landesmuseum Joanneum, Neutorgasse 45, 8010 Graz. N채here Informationen und Details zu den Veranstaltungen erhalten Sie auf unserer Website www.absolutely-free.at, unter info@absolutely-free.at oder unter 0316/8017-9790.
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Many times I have been asked by bookers, journalists and music fans “what style of music do you play”? Despite the regularity of the question I still get confused every time I hear it. Why does it have to be a style, preferably just one style? I try to avoid an easy answer by stating a comparison that various people who know me have made - that I am like “the female John Peel”. But this reply, however honourable in itself, still leaves me unsatisfied. I don’t want to be pigeon-holed! And that for me, is the essence of my deejay style - absolute freedom and the urge to stay ahead of the audience. The public is almost by definition conservative, they like to hear what they already know and don’t like surprises, even in “progressive” musical circles. I like to push things into uncharted waters - for me, this is what every musical scene needs in order to survive. Limiting oneself to a single musical genre is a shame. You leave out so many opportunities. On my latest mix album I mix African tribal drumming with a cutting edge UK rapper, Chinese dub with Austrian accordion playing, bass heavy dubstep with animal noises, breakcore with post-punk and minimal techno with acid chants. I combine the weird dub of Lee Perry with the minimal groove of Sleeparchive, followed by the African highlife of Super Negro Bantous who then get blown away by the female power of Warrior Queen. This wild mix can be so much fun and inspiration. Never knowing where you’re going and enjoying that travel is for me an important essence of my life and therefore my deejaying. The two can’t be separated. A few months ago in my hometown of Amsterdam I went to a dubstep night. And as I have been integrating dubstep for years now in my live sets and various radio shows, I was really looking forward to the evening. However, it was not a great experience as, although it was interesting from a psychological point of view, I was surprised by how one dimensional it all was - the “ritualness”. Deejay after deejay followed the same musical path. Maybe we experienced the “strangulation” of a very exciting new musical form by its own fans who miss the point (for me) of every new musical style - the sheer excitement and artfulness of creation and development. The musical form is in a way irrelevant. I have been intrigued by so many different musical genres and each time the promises and raison d’etre of these new musical styles fail to get truly delivered because the majority involved rest on their laurels. My first “real” musical love, not counting Mud, Suzi Quatro and Slade, was 1976-1977 punk (“Oh Bondage
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Up Yours!”), but it was post-punk which shaped my musical ideas. The willingness to experiment, to discover and combine unknown musical territories and the feeling of freedom in bands such as The Slits, Delta 5, PIL (“Metal Box”!), The Fall, Kleenex, Au Pairs, The Raincoats, ESG, The Pop Group, Rip, Rig & Panic or Throbbing Gristle still inspire me to this day. So, regarding my deejaying, this means that you shouldn’t ask “what type of music do you play?”, but instead look forward to an experience of surprise, wonder and great dance-ability – this woman knows her bass! A bass that seeps up through the soles of your shoes, vibrates up your body and grabs you by the throat, leaving you breathless. A bass you can lie on top of. I try to tell a story and take people by the hand for a walk into unknown territory – I have never been good at reading maps and orientation! I like to play records that astonish, full of bizarre and unexpected twists - one minute you’re thinking how beautiful life sounds, the next how scary, then how strangely hilarious. This leads me to experiment with new records and mixes during the set; I am constantly juggling with a passionate urgency and on the verge of collapse. Accidents can happen – as in real life. The audience is not only entertained but also permanently challenged. And when that works it is a tremendous evening. Music is for me not escapism but a way of life, of politics. I am convinced that any particular style of music sounds better as an individual track when played against another different style. It makes the listener more lively and involved. You never know what you’re going to get and the deejay is not showing off and acting cool, but she is genuinely sweating to get the records played simultaneously in an exciting way. For that journey the use of vinyl is essential, for both aesthetic and audio reasons. I don’t like cd’s and mp3s - they are soulless, too easy and I believe that the “quality” of deejay sets and radio shows sometimes deteriorates because it is too simple and cheap to obtain music and therefore people become less critical. As a result of my way of working, I have found that I am regularly appreciated by people who do not come
from the same “alternative” background as me. I have worked together with contemporary modern dancers, improvising and jazz musicians, and musicians from an older generation, like Faust’s founder member HansJoachim Irmler. When I played the 2007 Klangbad Festival in Scheer in the south of Germany, curated by Irmler, he was taken aback by my deejay style. He confessed I got him dancing for the first time in 20 years. He also recognised the same cutting edge spirit found in his own music making and invited me to come back to Faust Studio to record a mix album. During the recording his production mainly consisted of preparing delicious food and walking and dancing in and out of the studio dressed in a ridiculous apron. Personally, I had “prepared” myself for the recording by getting lost in the extremely tiny village of Scheer (to the bewilderment of all) and slamming my finger in a door! In such an atmosphere nothing (more) can go “wrong”. In a predominantly male dominated scene I find it a shame that so many female deejays make the mistake of trying to copy their male counterparts by putting too much emphasis on technique and faultless, one dimensional mixing, when I feel they should rely more on their own strengths; use intuition, exploration and let go of “rules”. Why don’t we play more with the perception of what a deejay should be? As Scout Niblett sings in her version of “Uptown Top Ranking”, the final track on my album and one that regularly ends my gigs: “I got no style, I’m strictly roots”. Marcelle’s latest mix album “DJ Marcelle/Another Nice Mess Meets Her Soulmates At Faust Studio Deejay Laboratory” is released (on double vinyl only) on the German Klangbad label. In addition to being a wicked club DJ, playing wild sets across the stages of Europe, the Dutch deejay does weekly and monthly radio shows for stations in the Netherlands, England and Germany, in total seventeen hours a month. www.anothernicemess.com www.dandelionradio.com/marcelle www.fsk-hh.org/sendungen/another_nice_mess www.myspace.com/djanothernicemess
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absolutely spring @ springnine: May 21st, May 22nd and 23rd, Joanneum. DJ Marcelle plays May 23rd.
DER ETWAS ANDERE WORKSHOP Florian Obkircher Beats im 24/7-Takt, so sieht der Alltag der Red Bull Music Academy aus. Beim springfestival öffnet die reisende Musikhochschule erneut ihre Pforten. Jungen Musikern, denen die Decke ihres Heimstudios auf den Kopf zu fallen droht, sei gesagt: Es gibt einen Weg aus dem Einsiedlertum. Und der führt geradewegs ins pulsierende London. Wenn die Red Bull Music Academy nächsten Winter dort von 7. Februar bis 12. März ihr Hauptquartier aufschlägt, dann wird vor allem eines zelebriert: der Austausch zwischen Musikern, die sich ganz ihrer Leidenschaft verschrieben haben. Die Idee entstand 1994, als Red Bull Music Academy-Initiator Many Ameri mit Kollegen überlegte, wie man dem vorherrschenden Konzept des Musik-Workshops neue Impulse verleihen könnte. Bis dato beschränkten diese sich auf technischen Unterricht im Scratchen oder DJ-Hardware-Präsentationen. Ameri dagegen wollte jungen Musikern und DJs ihre Passion als Ganzes näher bringen. Von Anfang an war damit klar, dass neben gerade angesagten Produzenten auch musikalische Legenden und übersehene Drahtzieher zu Wort kommen müssen. Oral History eben. Von Robert Moog, Vater des gleichnamigen Synthesizers, bis Bernard Purdy, dem meist gesampleten Drummer der Welt. Außerdem sollte die Musik-Hochschule wandern. Am besten um die ganze Welt. Seit der ersten Edition 1998 in Berlin macht die Red Bull Music Academy so alljährlich für ein Monat in Musik-Metropolen wie New York, Kapstadt oder São Paulo Station. In zwei Semestern werden jeweils dreißig junge Produzenten, Instrumentalisten und DJs aus aller Welt und aus verschiedensten Genres eingeladen, um zwei Wochen lang Teil einer musikalischen Parallelwelt zu sein. Gemeinsam mit den Großen ihrer Zunft teilen sie während dieser Zeit Soundstudios, Plattenspieler und Esstisch. Ob Techno-Visionär Carl Craig, Dubstep-Wunderkind Skream oder Afrobeat-Drumlegende Tony Allen – die Helden schauen nicht bloß für einen Vortrag vorbei, sondern bleiben meist lang. Nicht selten tagelang. Vom Frühstück bis zum Mitternachtssnack, von der Lecture bis zur Studiosession, die Stars arbeiten mit den jungen Musikern zusammen und stellen sich deren Fragen.
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Der Weg zur Academy ist dabei kein beschwerlicher: Lediglich ein Mixtape und/oder eine Hand voll selbst produzierter Tracks sowie ein ausgefüllter Fragebogen (Download unter redbullmusicacademy.com)
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reichen, um sich zu bewerben. Gefragt sind dabei allerdings nicht primär perfekte Skills am DrumComputer oder Plattenspieler, sondern Spontanität, Offenheit und musikalische Leidenschaft ohne Scheuklappen. „Um Teilnehmer zu werden, sollte man vielfältig talentiert und stark interessiert am Blick über den Tellerrand sein“, sagt Mitorganisator Wulf Gaebele. Die Bewerbungsphase für die nächste Edition der Red Bull Music Academy in London läuft noch bis 27. Juli. Per Mausklick können Musik-Afficionados das ganze Jahr über in den Mikrokosmos der Academy eintauchen: Auf redbullmusicacademyradio.com gibt’s täglich neue Radio-Shows, präsentiert von Musikern und DJs aus über fünfzig Ländern. Mixes, Dokus, Interviews und Liveshows: Alles sowohl live als auch on demand, von Musikliebhabern für Musikliebhaber. Unter anderem von und mit Hip Hop-Posterboy ?uestlove (The Roots), den Indie Dance-Helden Hot Chip, Techno-Superstar Ricardo Villalobos, den Radiohead-Darlings Modeselektor, Franz Ferdinand und den Ed-Banger-Buben aus dem Pariser Daft Punk-Umfeld. Die Österreich-Außenstelle des Red Bull Music Academy Radio betreut Soul-Seduction-Legende Alan Brown. Im Rahmen von „Inside Out Austria“ schickt er einmal monatlich gemeinsam mit einem Studiogast frische Ö-Tunes raus in die Radio-Welt. Und musikalische Beiträge vom heimischen Nachwuchs sind jederzeit erwünscht, so Brown. Beim springfestival öffnet die Red Bull Music Academy heuer erneut ihre Tore und gewährt den Festivalbesuchern in Workshop-Sessions Einblicke in den Alltag der reisenden Musikhochschule. An drei Tagen nimmt jeweils ein Artist um 16 Uhr am Sofa im Landesmuseum Joanneum Platz. Und plaudert aus dem Näh- bzw. Soundkästchen: Am 21. Mai schleppt das Acid Symphony Orchestra eine Schubkarre voll 303s und 808s in die Neutorgasse 45, Juri Hulkkonen und Jusi Pekka nehmen die Session-Besucher auf einen interaktiven AcidTrip mit. Das Drum’n’Bass-Urgestein Goldie dagegen zeigt tags darauf am 22. Mai seine glitzernden Beißerchen. Im Interview mit Heinz Reich lässt der Brite Saturn-Ringe kreisen und plaudert über den Status Quo seines Metalheadz-Labels. Am letzten Tag der Sessions, dem 23. Mai, nimmt ein Meister des Mischpults auf der Red Bull Music Academy-Couch Platz: Hank Shocklee, Mitglied des legendären Hiphop-Produktionsteams The Bomb Squad, erklärt, wie man man Public Enemy mit radikaler Sampling-Kunst ausrüstet und Ice Cube zu „AmeriKKKa’s Most Wanted“ macht. Infos zur Bewerbung unter: www.redbullmusicacademy.com Täglich neue Mixes und Livesets auf: www.redbullmusicacademyradio.com
Red Bull Music Academy Sessions @springnine: 21. Mai: Juri Hulkkonen und Jussi Pekka 22. Mai: Goldie 23. Mai: Hank Shocklee
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Alle Sessions finden im Landesmuseum Joanneum bei freiem Eintritt ab 16h statt.
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A WORKSHOP WITH A DIFFERENCE Florian Obkircher Beats in 24-7 time dominate everyday life at the Red Bull Music Academy. This year’s spring festival will see the touring conservatory open its gates once more. For young musicians suffering from the fear of the roof caving in on them in their home studio: There is a way out leading straight to the vibrant city of London. This is where the Red Bull Music Academy will be setting up headquarters next winter from February 7th through March 12th with the aim of facilitating an exchange between musicians who are highly committed to their passion. The idea of founding the Academy came about in 1994 when Many Ameri and some friends were thinking of ways to provide a new impetus to musical workshops. Up until then, they had been limited to technical instruction on scratching or the presentation of DJing equipment. In contrast, Ameri wanted to bring young musicians and Djs closer to their passion as a whole.. For this reason it was clear from the very beginning that besides the usual producers, musical legends as well as those lesser-knowns from behind the scenes would be invited to contribute. These include, amongst others, Robert Moog – father of the synthesizer of the same name and Bernhard Purdy - the most sampled drummer in the world. And this conservatory was meant to travel. Ideally around the globe. Ever since its inception in 1998, the Red Bull Music Academy has been making month long visits every year or so in music metropoles such as New York, Cape Town and São Paulo.In the course of two semesters, thirty young producers, instrumentalists and DJs from around the world are invited to become part of a musical parallel universe for two weeks. During this time they share sound studios, record players and the dinner table with the big players of their trade. Be it techno visionary Carl Craig, dubstep wunderkind Skream or afrobeat drum legend Tony Allen – the heroes aren’t just in it to say their bit, but usually stay on longer, quite frequently for several days. From breakfast time to the late night snack, from presentation to the studio, the stars are there to answer questions and work with the youngsters.
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Getting into the Academy is not particularly difficult: Just a mixtape and/or a handful of self-produced tracks, as well as a filled out application form (downloadable at redbullmusicacademy.com) suffice to apply for the Academy. There are no special requirements such as perfected skills on the drum computer or decks. In fact, it’s a certain degree of spontaneity, openness and musical passion devoid of blinkers that will get you in.
“In order to become a participant you should be multi-talented and have a strong interest in looking beyond the end of your own nose,” says co-organiser Wulf Gaebele. The closing date for applications for the next round of the Red Bull Music Academy in London is July 27th. Music aficionados can immerse themselves in a microcosm of the Academy throughout the year with the click of a mouse at Redbullmusicacademyradio.com, which features daily radio shows presented by musicians and DJs from over fifty countries. On this online platform, worldwide music lovers provide the like-minded with mixes, documentaries, interviews and live shows, which are available live and on demand. Amongst the presenters are artists such as poster boy ?uestlove (The Roots), indie dance heroes Hot Chip, techno superstar Ricardo Villalobos, Radiohead’s darlings from Modeselektor, Franz Ferdinand and the Daft Punk associates from Ed Banger records. The Red Bull Music Academy Radio’s Austrian outpost is managed by soul seduction legend Alan Brown. Once a month he and his studio guests send fresh Austrian tunes out into the ether in a show called “Inside Out Austria”. “Musical contributions from young local musicians are most welcome,” says Brown. At this year’s spring festival, the Red Bull Music Academy will offer festival-goers an insight into the everyday life of the travelling conservatory through their workshop sessions. Over a three day period, various artists will take a seat on the sofa at the Landesmuseum Joanneum Platz at 4pm and will tell tales of music school. On May 21st, the Acid Symphony Orchestra will bring along a barrow load of 303s and 808s into Neutorgasse 45, Juri Hulkkonen and Jussi Pekka will be taking the session participants on an interactive acid trip. Drum’n’Bass dinosaur Goldie will be putting his sparkling chompers on display on May 22nd. In an interview with Heinz Reich the Briton will be spinning the ring of Saturn and chatting about the status quo of his label Metalheadz. The last day of the sessions, May 23rd, features a true master-mixer on the Red Bull Music Academy’s couch: Hank Shocklee, member of legendary hip hop producers The Bomb Squad, will give an introduction on how he equipped Public Enemy with radical sampling skills and turned Ice Cube into „AmeriKKKa’s Most Wanted“.
Applications at: www.redbullmusicacademy.com Daily new mixes and live sets at: www.redbullmusicacademyradio.com Red Bull Music Academy Sessions @springnine: May 21st : Juri Hulkkonen and Jussi Pekka May 22nd: Goldie May 23rd: Hank Shocklee
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All sessions are taking place at Landesmuseum Joanneum free of admission from 4pm.
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Für das Line-up hat das Nerds Team die Crème de la Crème des Londoner Undergrounds handverlesen, den es repräsentiert: im speziellen Stil der Urban Nerds werden Dubstep, Garage und Grime mit allen und jeder Richtung gekreuzt, angefangen von Jungle zu Drum’n’Bass, Reggae, Electro, bis hin zu Funk und Soul. Rundum verbreitet sich eine solide Partyatmosphäre – beim springnine werden die Urban Nerds diesbezüglich keine Ausnahme machen!
Die Stimmung ihrer Partys mit dem Rest von Europa zu teilen war stets eines der größten Anliegen der Crew, und springnine bietet dazu eine exzellente Gelegenheit.
Es darf als Zeichen unserer Zeit gesehen werden, dass sich die Urban Nerds und springnine über eine soziale Plattform angefreundet haben und ein paar Tweets später war bereits eine neue, aufregende Zusammenarbeit geboren. Am 22. und 23. Mai wird das Nerds Team mit seinem Partyirrsinn im schönsten Sinne des Wortes im Ska Einzug halten.
So darf es nicht verwundern, dass Partys der Urban Nerds bislang in vielen der wichtigsten Locations des Londoner Club-Lebens über die Bühne gingen: im Fabric, Matter, 93 Feet East, im Egg und Ministry of Sound feierten die Nerds. Durch die Zusammenarbeit mit den Graffiti-Kollektiven Ahead of the Game (ATG) und One Trick Pony (OTP), sowie Kooperationen mit den DMC World DJ Championships und Medienpartner wie Timeout, Mixmag, Don’t Panic und STEP:ONE setzen die Urban Nerds neue Dimensionen und nähren ihre Visionen für 2010. Doch auf dem Weg in die Zukunft führt kein Weg an Graz vorbei – die Urban Nerds kommen zum springnine und haben die Party im Handgepäck.
Die Urban Nerds haben London im Sturm erobert: im März 2007 wurde die Bewegung geboren, und sie hat in zwei Jahren bereits eine immense Eigendynamik entwickelt. Die Urban Nerds legen besonderes Augenmerk auf die Promotion ihrer Veranstaltungen und geben dieses gewisse Etwas mehr bei allen Partys, an denen sie beteiligt sind.
‘It takes a lot of ingredients to bake a tasty cake’ - The URBAN NERDS Story
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springnine: Die Urban Nerds übernehmen am Donnerstag, 22. Mai, und Freitag, 23. Mai, das Ska.
Samstagnacht schlägt DJ Zinc, Original Selecta aus Gründertagen mit einem House Set zu. Benny Page & Zero G (Digital Soundboy) machen alles richtig und hauen uns Dubstep um die Ohren, dass die Bude bebt. Unterstützung kommt dabei von A1 Bassline, der als the next big thing in Sachen Figet gehandelt wird. Auf Partys von London bis Berlin gehen seine basslastigen Sets Clubbesuchern durch Mark und Bein. Bei springnine im Ska ebenfalls mit von der Partie sein werden Tomb Crew, Residents bei Ministry of Sound Radio. Die Urban Nerds zählen sie zu ihren LieblingsPartystartern. Urban Nerds DJs Dusty Lungs, Daddy Nature und Drama starten die Aufwärmrunde mit Dubstep, aber ein bisschen Reggae, Dancehall und Ragga geht immer! You know how we roll! Kurzum: Die Urban Nerds bringen alles, was man für eine Bass-Exstase braucht, aus der pulsierenden Szene Londons nach Graz. Macht Euch gefasst auf viel, viel, sehr viel Bass, heavy Lyrics und ganz bestimmt Reeeewinds, denn die Urban Nerds sind in der Stadt! Und Augen auf und Ausschau halten, denn die Urban Nerds werden während des springnine Festivals mit ihrer Kamera unterwegs sein und das ganze wahnwitzige urbane, nerdige Partygeschehen festhalten. Die Urban Nerds sind stolze Mitglieder des Ortofon & Ecler Pro Teams. Hold tight all the crew at Henleypro.co.uk See you at the rave! UN crew, www.urban-nerds.com.
Neben dem Kern der Resident DJs hat das Kollektiv eine Abordnung passionierter Selectors und Beatmakers für ihr Gastspiel am springnine Festival zusammengestellt. Während Tayo Bass mit Ragga, Breaks und Dub Vibes kollidieren lässt, setzt mit Heny G. einer der anerkanntesten DJs des Londoner Underground bei Old Skool an und spielt ein Garage Set, Seite an Seite mit dem Grime und Garage Experten und Urban Nerds Resident Ordio Kid. Rattus Rattus und Klose One mit Illaman als Host legen mit einem Tip Top 4-Decks-Set noch ein Schäuferl nach, um mit sämtlichen Dance Genres aufzugeigen, dass es nur so rauscht. Kein Schmäh!
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Bassline is the next big thing in fidget, B-More and bass led dance beat, smashing parties from London to Berlin and beyond with his unique, bone shaking sets. Also in the building are Tomb Crew, residents at Ministry of Sound radio and some of our favourite party starters. Urban Nerds DJs Dusty Lungs, Daddy Nature and Drama get things warming easy on the dubstep front but expect a taste of reggae, dancehall and ragga vibes to boot. You know how we roll! To put it simply the Urban Nerds have gone to town in bringing Graz an all out bass frenzy that represents the current London raving scene. Expect big, big, bass, heavy lyrics and most definitely the occasional reeeewind call, the Urban Nerds are in town! Watch out for the Urban Nerds at springnine as they take to the streets of Graz and invade parties left, right and centre with their trusty camera in check to record all the Urban, Nerdy mayhem at this year’s festival! Urban Nerds are proud members of the Ortofon & Ecler pro team. Hold tight all the crew at Henleypro.co.uk Hit-up Urban Nerds at www.urban-nerds.com See you at the rave! UN crew springnine: Urban Nerds take over the club Ska on May 22nd and 23rd.
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‘It takes a lot of ingredients to bake a tasty cake’ - The URBAN NERDS Story
The Urban Nerds have been taking London by storm over the last two years; born in March 2007 the movement has been gathering momentum at a fast pace. With specific concentration on events promotion, the Urban Nerds add that little bit extra to every party they’re involved with. Having thrown parties at some of London’s top nightspots including Fabric, Matter, 93 Feet East, Egg and Ministry of Sound and collaborating with the likes of Timeout, Mixmag, Don’t Panic, STEP:ONE, The DMC World DJ Championships and graffiti crews, ATG and OTP, the Urban Nerds are set to take things bigger and bolder for 2010 but before that, there was simply no choice but to bring the party over to Graz!
Much a sign of the times, Urban Nerds & springnine became friends on popular social networking site, Twitter. To cut a long story short, a couple of tweets here and there led to an exciting collaboration that sees team Nerds take over Ska club on 22nd and 23rd of May, bringing with them a slice of party madness, LDN style!
Having the opportunity to share the Urban Nerds vibe with the rest of Europe has always been one of the crew’s goals and springnine offered this opportunity to the highest level. Team Nerds have carefully crafted a lineup that represents the cream of the underground London sound that they represent. In true Nerds style, it’s typically eclectic, crossing dubstep, garage and grime with anything and everything from jungle to drum and bass, reggae, electro, funk and soul. A solid party vibe is what gels this mish-mash together and springnine’s set to be no exception! Alongside the core Urban Nerds resident DJs, a carefully hand picked team of passionate selectors and beat makers have been chosen to represent at spring… On Friday night Tayo brings the bass with a clash of ragga, breaks and true dub vibes while one of London’s most respected underground spinners, Heny G takes it back to the old skool with a garage set alongside Urban Nerds’ resident grime & garage expert Ordio Kid. Just don’t make him draw for the dubs! Rattus Rattus & Klose One close proceedings with host Illaman, representing an amalgamation of dance genres on a tip-top four-deck set that’s not to be missed, trust! Saturday night sees original London selector from back in the day, DJ Zinc hit springnine with a fresh vibe, breaking away from his drum and bass heritage with a heart thumping house set! Benny Page & Zero G (Digital Soundboy) come correct with a full frontal dubstep vibe that’s set to bring the house down and are joined by A1 Bassline. One to watch,
Never stuck in one– tiefparterre corner Maria Motter Nomen est nicht mehr omen. Tiefparterre und die DJs und Musiker des Grazer Vereins bringen ihre Produktionen aus ihren Studios direkt zum Publikum. In den Anfangsjahren kannte man tiefparterre nur in kleinen Kreisen. Einzig NEO ist in der Graffiti- und Tattooszene über die Landesgrenzen hinaus bekannt. Doch abseits der breiteren Öffentlichkeit werken die Mitglieder eifrig. In den vergangenen acht Jahren ist tiefparterre, ein Verein zur Förderung von Kunst und Kultur zuhause in Graz, zu einer Art produktiver Familie an- und in diverse Musikrichtungen ausgewachsen. Ursprünglich mit dem Ziel gegründet, jungen Künstlern abseits des Mainstreams unentgeltlich Platz im WorldWideWeb zur Verfügung zu stellen, hat sich die Plattform zum Pool für kreative Köpfe entwickelt. Der Graffiti-Künstler NEO war eines der ersten Mitglieder von tiefparterre Mitte der 90er Jahre in Graz. 2000 baute man das Projekt weiter aus. Zusammen mit einer kleinen Gruppe von Hip Hop DJs gründet man eine Plattform für junge DJs. Das lose Kollektiv wächst, nicht nur DJs und Produzenten, auch Graffiti-Künstler und Grafikdesigner, Tontechniker und Musiker schließen sich kurz. Im Mittelpunkt steht die Qualität von Musik und Kunst. Ein gutes Dutzend DJs, MCs und Musiker fühlt sich dem Verein heute zugehörig. Als einer der ersten war Heimleita bei tiefparterre aktiv, neben Mr.Dero und Amtrak. Zu ihnen gesellten sich Phonix, Klumzy Tung, Johnny Honolulu, Chris Chronic und Raw, Seismo, Dizzy, Focus, Late Hour, Trashtray, JFK, Farina Miss und jüngst formierte sich die Band Stevies Wonder Glasses. Gegenseitig unterstützt man sich bei den verschiedensten, eigenen Projekten. Hip Hop war der größte gemeinsame Nenner der losen Gruppe, die mit ihren Interessen von Grafik bis Veranstaltungsmanagement mittlerweile ein breites Spektrum erfasst. Nicht zuletzt musikalisch.
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Chris Chronic organisiert mit Amtrak und Focus die Clubreihe Bass or Die. „Vor elf Jahren habe ich angefangen aufzulegen, und zwei Jahre später habe ich meine ersten Tracks produziert. Hip Hop war und ist eine große Liebe, aber in den letzten Jahren wurde alles verzweigter und vielschichtiger“, sagt Mr.Dero. „Wir sehen uns als Musiker und was immer uns gefällt, greifen wir auf. In einer Ecke zu verharren liegt uns nicht.“
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Hip Hop ist die essentielle Zutat, hinzukommen Funk, Soul und Reggae, sowie gehörige Po1rtionen Electro und Breakbeats. Eine Hand voll Baile Funk, Dubstep und Grime löffelweise machen die Mischung ihrer Veranstaltungen aus. Diese als energiegeladen zu beschreiben wäre eine Untertreibung. DJ Beware, die Waxolutionists oder Denyo waren ebenso zu Gast wie DJ Vadim, Rafik und JFB. Der UK DMC Champion des Jahres 2007 erwies der Crew bereits mehrfach die Ehre und machte Mr.Dero mit Beardyman und dem Freestyle MC Klumzy Tung aus London bekannt. In der Folge schließt sich Klumzy Tung tiefparterre und der ButterBar Mannschaft an und steigt alle paar Wochen in London in den Flieger nach Graz, um mit Mr.Dero in dessen Studio zu arbeiten. Ihre gemeinsame EP „The Little Things“ mit sechs Tracks wurde dieses Frühjahr auf Vinyl veröffentlicht. Der digitale Release mit Remixes von DJ Vadim, JSTAR, Amtrak, JFB und Beardyman folgt noch vor diesem Sommer. Derzeit arbeiten beide an ihren Debütalben. Beim springeight Festival traten DJ Mr.Dero und MC Klumzy Tung Mr.Dero und Klumzy Tung bereits gemeinsam mit dem Schlagzeuger dr.pheel auf. Durch die neue Konstellation ergeben sich neue, weitere Möglichkeiten, das Tempo und Musikstile zu variieren und noch direkter mit dem Publikum zu kommunizieren. Schlag auf Schlag geht ein Hip Hop-Track mit dem Schlagzeug in Drum‘n‘Bass über. Improvisation ist ein wesentlicher Teil der Live-Shows. „Ich bitte das Publikum, mir Wörter oder Themen für einen Song zu nennen, den ich unmittelbar singe“, erklärt Klumzy Tung. Der MC und Singer/Songschreiber hat auch den „Klumzy Word Generator“ erfunden: über ein kleines Tool, das im Publikum herumgereicht wird, kann man ihm als Zuhörer Stichworte schicken. Die blinken dann auf Videowall auf, Klumzy Tung liest sie und freestylt dazu, bis das nächste Wort aufblinkt. Bei springnine hostet tiefparterre eine Battlejam Nacht mit Beardyman und JFB, Raw und Chris Chronic finden sich hinter den Turntables und die Band Stevies Wonder Glasses wird erstmals live zu hören sein. Klumzy Tung, Mr.Dero, dr.pheel und Farina Miss sind zusammen Stevies Wonder Glasses. Allesamt behaupten sie, als Kleinkinder in einen riesengroßen Topf Zauberfunk gefallen zu sein. Und es könnte tatsächlich stimmen: DJ-Kunst, Schlagzeug und die Soul-Stimme von Sängerin Farina Miss und Freestyle werden eins in einer Performance, die einen noch tagelang tanzen lässt.
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springnine: tiefparterre präsentiert Battlejam, Samstag, 23. Mai, Postgarage, 2. Floor.
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Never stuck in one– tiefparterre corner Maria Motter Nomen doesn’t always correspond to omen, as the Latin saying goes. Tiefparterre – literally meaning basement – and its artists are taking their music out of the studio and bringing it to the public by way of the club. In the beginning, tiefparterre was largely unknown to the wider public: only NEO was well-known in the European graffiti- and tattoo scene. Behind the scenes however, the members of tiefparterre have been working hard and over the last eight years tiefparterre has become one big family of creative minds through the support of art and culture based in Graz,. Tiefparterre was initially founded with the aim of providing young artists with webspace. The renowned graffiti-artist NEO was one of the first forces to get behind tiefparterre back in the early days in the mid-1990s. By 2000, they, took things to the next level. Along with ,now ,a bunch of Hip Hop DJs, they formed a platform for young DJs. This loose collective began to grown and not only with DJs, but also saw producers, graffiti artists and graphic designers, sound engineers and musicians joining the ranks. Tiefparterre is all about quality in music and art. Today dozens of DJs, MCs and musicians associate themselves with the group: Heimleita was one of the first members of the collective, as well as Mr.Dero and Amtrak. They were later joined by Phonix, Klumzy Tung, Johnny Honolulu, Chris Chronic and Raw, Seismo, Dizzy, Focus, Late Hour, Trashtray, JFK, Farina Miss and more recently by Stevies Wonder Glasses. These artists all support each other while working on their own varied projects. The common denominator for this loose group of individuals has always been hip-hop, but interests are wide ranging: from graphic design to event management. And it has become one productive family.
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Chris Chronic, Amtrak and Focus organise the club-night “Bass or Die” and the first ButterBar took place in 2006. “Eleven years ago I started DJing. Two years later I got into producing, as well. Hip Hop is still my love and at the center of things, but over the last few years we’ve branched out”, says Mr. Dero’s responsible foralong . “We consider ourselves musicians, so anything we like musically will be taken. We won’t allow ourselves to be stuck in some kind of corner.” Hip Hop is the essential ingredient: to this Funk, Soul and Reggae are added, as well as fair sized portions of Electro and Breakbeats. A pinch of Baile Funk and dubstep as well as a couple of dashes of Ggrime complete the special recipe. It would be an understatement to describe it as loaded with energy. DJ Beware, the Waxos and Denyo as well as DJ Vadim, Rafik and JFB have all made appearances there. The 2007 UK DMC Champion JFB played there on more than one occasion and introduced Mr.Dero to Beardyman and freestyle MC Klumzy Tung from
London. As a result Klumzy Tung joined tiefparterre and the crew, flying to Graz on a regular basis to record with Mr.Dero at his home studio. Their 6-track-EP “The Little Things” was released on vinyl this spring, the digital release with remixes by DJ Vadim, JSTAR, Amtrak, JFB and Beardyman will follow this summer. Currently, both of them are working on their albums. At springeight festival last year, Mr.Dero and Klumzy Tung played with live drummer dr.pheel. The line-up enables them to vary the tempo and style of their music greatly. Moreover, it allows them to interact with the crowd to an even greater extent. A Hip Hop tune can become a Drum’n’Bass track if the drummer decides to play double-time. Improvisation is an important part of their live shows. “I ask the crowd for a reason or a subject for a song and then we literally create it on the spot”, Klumzy Tung says. The MC, lyricist and singer/ songwriter invented the “Klumzy Word Generator”: an electronic device that lets the crowd put in words, which Klumzy incorporates into freestyle songs as soon as they pop up on the screen on the stage. At springnine, tiefparterre will host a battlejam night with Beardyman and JFB performing. Raw and Chris Chronic will get behind the DJ decks and Stevies Wonder Glasses will be playing a live show. Klumzy Tung, Mr.Dero, dr.pheel and Farina Miss will all be wearing Stevies Wonder Glasses. They claim they fell into a big pot of magic funk when they were little. And it could be true: the combination of turntablism, live improvised drums, breathtaking vocals and a love for freestyling, Stevies Wonder Glasses make for a live show that will have you dancing for days.
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springnine: tiefparterre will host a battle jam night on Saturday, May 23rd, Postgarage, 2nd floor.
Momente, in denen Sie Ihre Kleine nicht lesen sollten.
Als Partner von springnine w端nscht die Kleine Zeitung gute Unterhaltung.
kultur_Springnine.indd 1
Meine Kleine. 02.04.2009 15:58:24 Uhr
RED BULL MUSIC ACADEMY Red Bull Music Academy Sessions Um in kleinerem Rahmen zu veranschaulichen, wie ein Tag an der Red Bull Music Academy so aussieht, gibt es auch diesmal wieder Interview-Sessions und Workshops mit hochkarätigen Künstlern im Rahmen des springfestivals. Keine Scheuklappen, so könnte das Motto der Red Bull Music Academy lauten. Und so sind auch die vier Gäste, die heuer zum Couchtalk im Landesmuseum Joanneum Platz nehmen, alle in verschiedensten Elektronik-Biotopen daheim. Da wären Juri Hulkkonen und Jussi Pekka, zwei Veteranen finnischer Housemusik. Soll heißen: deep, dubbig, verspielt. In Graz allerdings haben sie ihren Fuhrpark an 303s und 808s dabei, um gemeinsam mit dem Session-Publikum einen interaktiven Acid-Jam loszutreten. Goldie, ein großer Fisch im Drum’n’Bassin, reist aus London an und debattiert mit Patrick Pulsinger über Metalheadz, den Ring des Saturns und den Status Quo seines Genres. Hank Shocklee dagegen ist der Hiphop-Vertreter auf der Red Bull Music Academy-Couch. Und wer könnte wohl besser über die Evolution von Rap sprechen als einer, der mit seiner Bomb-Squad-Crew bereits für Public Enemy, Ice Cube oder Slick Rick Beats gebastelt hat. Und obendrein von About.com zum siebtwichtigsten Hiphop-Produzenten aller Zeiten gewählt wurde. Red Bull Music Academy Sessions im Rahmen von springnine:
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Do., 21. Mai: Juri Hulkkonen und Jussi Pekka Fr., 22. Mai: Goldie Sa., 23. Mai: Hank Shocklee (Bomb Squad)
RADIO FM4 @ springnine Radio FM4 ist auch 2009 wieder die Schnittstelle zwischen dem Festivaltreiben in Graz und RadiohörerInnen in ganz Österreich. Wer direkt vor Ort im Erdgeschoß des Kunsthaus Graz vorbeikommt, hat die Möglichkeit, die RadiomacherInnen und vor allem die SPRINGNINE Artists bei Interviews, DJ Sets und Live Sessions im Sendestudio zu beobachten. Once again, Radio FM4 will be back in Graz this year, bringing listeners all across Austria the latest coverage of the SPRINGNINE festival. For the duration of the festival, feel free to drop by and check out FM4’s live broadcast of DJ sets, sessions and interviews with many of the SPRINGNINE artists from the festival centre in Space 04 in Kunsthaus Graz. Livesendungen aus dem Kunsthaus Graz: Mittwoch, 20.5. 14:00h – 15:00h FM4 Unlimited 19:00h – 22:00h FM4 Homebase Donnerstag, 21.5. 19:00h – 22:00FM4 Homebase 22:00h – 00:00h Tribe Vibes Freitag, 22.5. 14:00h- 15:00h FM4 Unlimited 21:30h - 03:00h FM4 La Boum De Luxe Samstag, 23.5. 19:00h – 22:00h FM4 Davidecks Infos und Updates: fm4.orf.at/festivalradio
Wednesday, 20.5. 14:00h – 15:00h FM4 Unlimited 19:00h – 22:00h FM4 Homebase Thursday, 21.5. 19:00h – 22:00FM4 Homebase 22:00h – 00:00h Tribe Vibes Friday, 22.5. 14:00h- 15:00h FM4 Unlimited 21:30h - 03:00h FM4 La Boum De Luxe Saturday, 23.5. 19:00h – 22:00h FM4 Davidecks Infos and updates: fm4.orf.at/festivalradio
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springnine FESTIVAL ZENTRUM springnine Festivalzentrum im Kunsthaus Graz Auch dieses Jahr wird es ein Festivalzentrum als zentrale Anlaufstelle geben. Im Kunsthaus Graz / Space 02, Lendkai 1, wird sich neben dem FM4 Festivalradio auch das Karten-, Presse- und Gästebüro befinden. Dort kann man Eintrittskarten und Merchandise kaufen, Akkreditierungen abholen und jede gewünschte Information über das Festival bekommen. Das Festivalzentrum ist von Montag, 18. Mai, bis Samstag, 23. Mai, geöffnet. Montag und Dienstag von 14:00h – 20:00h Mittwoch bis Samstag von 14:00h – 24:00h
springnine festival centre at Kunsthaus Graz Just as last year, springnine will feature a festival centre which you can use as a contact point. The festival centre is located in Kunsthaus Graz / Space 02, Lendkai 1. Here you will find the FM4 festival radio as well as the ticket-, press- and guest office. From here you can purchase tickets and merchandise, collect your accreditation, and pick up information on all aspects of the festival and the festival programming. The festival centre opens on Monday May 18th through to Saturday May 23rd. Monday and Tuesday from 2pm to 8pm
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Wednesday to Saturday from 2pm to 12am
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springnine PROGRAMM
Mittwoch 20. Mai 2009
21:00 Parkhouse Pinie Wang (Myyy Bitch Club, Wien/A) 21:30 Electronic Beats Club @ Dom im Berg Mr. Oizo (Ed Banger, Paris/FR) Live: Acid Symphony Orchestra (Varsinais-Suomi/Fin) Mad Decent Soundsystem ft. Diplo (Mad Decent, Philadelphia/USA) Fake Blood & Boy 8-Bit (Mad Decent, London/UK) Hadrian (Soundsilo, Graz/A) Visuals: Montage Sauvage (Graz/A)
22:00 Heineken Music Club @ PPC Warp Records Label Night Live: Plaid (Warp Rec., London/UK) Joakim (Warp Rec., Paris/FR) Jackson and his Computerband (Warp Rec., Paris/FR) Mox (London/UK) Simon/off (Winterstrand, Graz/A) Visuals: Mox (London/UK) 22:00h PPC Bar DFA Records Label Night Live: House Of House (WHATEVER WE WANT, New York/USA) Holy Ghost (DFA Records, New York/USA) Diskokaine (Gomma, Wien/A) Patrick Pulsinger (Cheap Records, Wien/A) Monique Fessl (Graz/A) Visuals: Augenschmaus & Soundrausch (Linz/A) 22:00 Red Bull Music Academy Radio Stage @ Postgarage Boogee Basement presents Rainer Tr端by (Rootdown, Freiburg/DE) Jimpster (Freerange Records, Essex/UK) Julietta (Harry Klein, M端nchen/DE) Boogee Basement DJs (Graz/A) Visuals: Sadhu Sequencer (Mariboe/Slo)
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Electronic Beats opening night @ springnine graz 16:30 Kasematten Live: Gossip (Kill Rock Stars, Portland/USA) Live: Fever Ray (Rabid Rec., Stockholm/SWE) Live: Dorian Concept (Affine Records, Wien/A) Live: Bodi Bill (Sinnbus, Berlin/DE) Live: Fiago (onoFono/Hoanzl, Graz/A) DJ: Arabian Prince aka Professor X (Stones Throw, Los Angeles/USA)
00:00 Postgarage 2nd Floor Arabian Prince aka Professor X (Stones Throw, Los Angeles/USA) Beat Junkies (Los Angeles/USA) Da Heimleita (Tiefparterre, Graz/A)
Donnerstag 21. Mai 2009 17:00 DIESEL:U:MUSIC Lounge @ Thalia Terrasse DIESEL:U:MUSIC Artist Cocktail 21:00 Orpheum Graz A Mountain Of One (Pias, London/UK) 21:00 Parkhouse Live: Tri Minh (Hanoi/Vietnam) 21:30 Electronic Beats Club @ Dom im Berg Live: Laurent Garnier (F-Com, Paris/FR) Live: Zero Cash ft. Maral Salmassi (Television Rocks, D) Live: Japanese Popstars (Gung-Ho Recordings, Dublin/Irl) Mr. Flash (Ed Banger, Paris/FR) Clemens Neufeld (Giant Wheel, Graz/A) Visuals: Ochoresotto (Graz/A)
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22:00 Heineken Music Club @ PPC Bucovina Club Live: Shantel & Bucovina Club Orkestra (Essay Rec., Frankfurt am Main/DE) Live: Lapins Superstars (Ile-de-France/F) DJ: Shantel
Jori Hulkkonen (F-Com, Helsinki/Fin) Kayoz (Shellbeach, Graz/A) GK (Shellbeach, Graz/A) Visuals: mvd (Zürich/CH) 22:00 Postgarage 2nd Floor FM4 Unlimited Functionist (FM4, Wien/A) Beware (FM4, Wien/A) Mumdance (Global Bass, London/UK) Round Table Knights (Revolt Records, Bern/CH) Trashtray (Tiefparterre, Graz/A) Visuals: wemakevisuals (Wien/A) 22:00 Joanneum – absolutely spring Live: Fennesz (Touch, Wien/A) Live: Skinnerbox (doxa, Berlin/D) Live: B.Fleischmann (Morr Music, Wien/A) Marek (Graz/A) Visuals: Messmatik (Barcelona/ES) 22:00 DIESEL:U:MUSIC @ Opernpassage Richard Dorfmeister (G-Stone, Wien/A) Michael Reinboth (Compost, München/D) Phil Da Funk (Easy Moods, Graz/A) Slipmad (Easy Moods, Graz/A) DIESEL:U:MUSIC Support Act Visuals: Ochoresotto (Graz/A)
Freitag 22. Mai 2009 17:00 DIESEL:U:MUSIC Lounge @ Thalia Terrasse DIESEL:U:MUSIC Support Acts
22:00 PPC Bar Feinkost Royal Himmelfahrtskommando Live: Le Tam Tam (Feinkost Royal, Graz/A) Live: Sawoff Shotgun (sevenahalf, Graz/A) Nachtaktiv (Graz/A) John Electreelizer (Feinkost Royal, Graz/A) Visuals: VJ Boy & Verenschka (Graz/A)
19:30 Stefaniensaal Live: Tosca (K7! /G-Stone, Wien/A) Visuals: Fritz Fitzke (Wien)
22:00 Red Bull Music Academy Radio Stage @ Postgarage Afro Acid Label Night DJ Pierre (Afro Acid, Chicago/USA) Phuture 303 (Afro Acid, Chicago/USA) Jussi Pekka (Frozen North, Helsinki/Fin)
21:00 Parkhouse Shanti Roots (Vienna Scientists, Wien/A)
20:00h Orpheum Graz Live: The Whip (Southern Fried Rec., Manchester/UK) Live: Whomadewho (Gomma Rec., Kopenhagen/DK)
21:30 Electronic Beats Club @ Dom im Berg MixHell And Friends Live: MixHell (Kitsuné, São Paulo/Bra)
22:00 Heineken Music Club @ PPC Goldie (Metalheadz, London/UK) MC LowQui (Metalheadz, London/UK) LTJ Bukem ft. MC Conrad (goodlooking, London/UK) London Elektricity (Hospital, London/UK) Alix Perez (Shogun Audio, London/UK) MC AD (True Playaz, Hardware, London/UK) Stamina MC (London/UK) Gerald Sidòt (Zeiger, Graz/A) Aeronautic (Graz/A) Visuals: fruitmedia (Graz/A) 22:00 PPC Bar str@m club presents The Whip - DJ Set (Southern Fried Rec., Manchester/UK) Live: Korrelator (On The Fruit Rec., Graz/A) Elektrosagl (BoingBumTschak, Klagenfurt/A) Pilatus (Massenware, Graz/A) Visuals: Der. Papst & Nichtkunst Red Bull Music Academy Radio Stage @ Postgarage Flex presents Radio Slave (Rekids, Berlin/D) Martin Eyerer (Kling Klong, Stuttgart/D) Live: Paul Brtschitsch (Rootknox, Berlin/D) Crazy Sonic (Flex, Wien/A) Fauna (Flex, Wien/A) Patrick Kong (Flex, Wien/A) Johannes Lehner (Flex, Wien/A) Renoa (Soundsilo, Graz/A) Visuals: Abendprozessor (Wien/A) 06:00 springnine Afterhour hosted by Flex 22:00 Postgarage 2nd Floor Television Rocks spring Maral Salmassi (Television Rocks, München/D) Fukkk Off (Television Rocks)
Live: Zero Cash (Television Rocks, Köln/D) Acid Kids (Television Rocks) Etepetete (Graz/A) 22:00 Joanneum – absolutely spring Ostgut / Berghain Berlin Marcel Dettmann (Ostgut / Berghain, Berlin/D) Ben Klock (Ostgut / Berghain, Berlin/D) Live: Shed (Ostgut / Berghain, Berlin/D) Clara Moto (Infiné, Graz/A) El Rakkas (Echodub, Graz/A) Visuals: Vikkake (Graz/A) 22:00 SKA Urban Nerds do spring Sinden (London/UK) Tayo (Cool & Deadly, London/UK) Rattus Rattus (London/UK) KloseOne (London/UK) Illaman (London/UK) Slimzee (London/UK) DJ Tubby (London/UK) Heny G - Garage Set (London/UK) Ordio Kid (London/UK) Dubquake (Graz/A) 22:00 DIESEL: U:MUSIC @ Opernpassage Makossa & Megablast (G-Stone, Wien/A) Michael Rütten (Soulpatrol, Compost, Frankfurt/D) Emeegrant (Easy Moods, Graz/A) Rought (Easy Moods, Graz/A) DIESEL:U:MUSIC Support Act Visuals: OchoResotto (Graz/A)
Samstag 23. Mai 2009 17:00 DIESEL:U:MUSIC Lounge @ Thalia Terrasse DIESEL:U:MUSIC Support Acts 20:00h Orpheum Graz Live: Jazzanova ft. Paul Randolph (Sonar Kollektiv, Berlin/D) Live: Eddy meets Yannah Soundsystem (Compost, Zagreb/Cro) 21:00h Parkhouse Red Star (Wien/A)
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Wildlife! ft. Terry Lynn (Yuhzimi, CH - Phree Music, Kingston/Jamaika) Toy Selectah (Mad Decent / Monterrey, Mexico) LuckyRok (Import, Maribor/Slo) Benitez..! (Import, Maribor/Slo) & SUPER SPECIAL SURPRISE GUEST! Visuals: mindconsole (Graz)
21:30 Electronic Beats Club @ Dom im Berg G-Stone Label Night Kruder & Dorfmeister (G-Stone, Wien/A) Rodney Hunter (G-Stone, Wien/A) Sugar B (G-Stone, Wien/A) Earl Zinger (Red Egyptian, London/UK) Ras T-Weed (Birmingham/UK) Syrous & Pietro Masser (Zeiger, Graz/A) Visuals: Fritz Fitzke (Wien/A) 22:00 Heineken Music Club @ PPC ebl and Danube Rave present Live: Kissogram (Louisville, Berlin/D) Live: Kollektiv Turmstraße (Musik Gewinnt Freunde, Berlin/D) Len Faki (Len Series, Berlin/D) Gregor Tresher (Moon Harbour, Frankfurt/D) Eric Fischer (Devoted Tunes, Linz/A) Uwe Walkner (Etage Noir, Linz/A) Visuals: Gezwinele Les Günfiès (Linz/A) 22:00 PPC Bar Linz Floor Karl Möstl (Defusion, Linz/A) Just Banks (Etage Noir, Linz/A) Cherry Sunkist (Soul Seduction, Linz/A) Le Fin ft. Ability (Linz/A) A. G. Trio (Etage Noir, Linz/A) Uli Mayr (Linz/A) Mike Rigler (Linz/A) 22:00 Red Bull Music Academy Radio Stage @ Postgarage Bomb Squad presents Subsonic Frequencies BOMB SQUAD (Shocklee Innertainment, NYC/USA) Mala (DMZ; London/UK) Pinch (Tectonic, Bristol/UK) Benji B (BBC 1Xtra / Deviation, London/UK) Amtrak (Tiefparterre, Wien/A) Visuals: VJ Workshop 06:00 springnine Afterhour Diskokaine (Gomma, Wien/A) Patrick Pulsinger (Cheap Records, Wien/A)
22:00 Postgarage 2nd Floor Tiefparterre Label Night Beardyman (London/UK) JFB (Brighton/UK) Chris Chronic (Tiefparterre, Graz/A) Raw (Tiefparterre, Graz/A) Live: Stevies Wonder Glasses ft. Mr. Dero (Tiefparterre, Graz/A) Dr Pheel (Tiefparterre, Graz/A) Klumzy Tung (Tiefparterre, London/UK) Farina Miss (Tiefparterre, Graz/A) Visuals: VJ Workshop 06:00 springnine Afterhour Syrous, Zeiger Soundsystem & Friends 22:00 Joanneum – absolutely spring Live: Sneaky (Berlin/D) DJ Marcelle (BBC, Another Nice Mess, London/UK) Live: Laokoongruppe (konkord, Wien/A) The Bobby Luganos (Graz/A) Mazze (Graz/A) Visuals: VJ Workshop 22:00 SKA Urban Nerds do spring Zinc - House Set (Bingo Beats, London/UK) Benny Page & Zero G (digital soundboy, London/UK) A1 Bassline (London/UK) Tomb Crew (London/UK) Daddy Nature (London/UK) Dusty Lungs (London/UK) Drama (London/UK) Mo’Fyah (Inandout Rec., Graz/A) 22:00 DIESEL: U:MUSIC @ Opernpassage Jazzanova (Sonar Kollektiv, Berlin/D) Ben Mono (Compost, Berlin/D) Eddy Ramich (Compost, Zagreb/Cro) Electrosacher (Ohm Rec., Trieste/I) Easy Agent (Boomerang Prod., Trieste/I) DIESEL:U:MUSIC Support Act Visuals: VJ Workshop
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Programmänderungen nach Drucklegung finden sie unter www.springfestival.at
springnine ARTISTS page 106
Information on all performing artists and an in depth schedule are provided on www.springfestival.at
Gossip
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From: Portland, USA Who? Beth Ditto, Brace Paine, Hannah Blilie Style: Post Punk, Electro Facts: With their single “Standing in the way of control”, the trio from Portland put themselves on the map. Drummer Hannah Blilie striking her cymbals, Brace Paine playing a bass riff which is as much a hymn for football stadiums as “Seven Nation Army” is, and finally Beth Ditto’s unique voice. The song was written as a response to George W. Bush’s decision to deny gay people the right to marriage. “We were raised by cassette tapes, wild coyotes and mothers”, Gossip let us know on their myspace page. They grew up in a small town in Arkansas, in the pious Bible Belt between church choirs and country music. The band was formed eight years ago, after the trio had escaped to the Liberal West coast in Olympia, Washington. Olympia was the centre of the riot grrrl movement in the 90s and is the home of Kill Rock Stars, the label of important bands like Bikini Kill and Sleater-Kinney who were soon playing shows with Gossip. Beth Ditto – with her statements in interviews and her Guardian newspaper column “What would Beth Ditto do” – is by many regarded not merely as ‘just another lesbian lead singer’ but as a leading voice. Just recently, she caught designer Marc Jacobs’ eye. With Gossip, Beth Ditto has only one mission: to get her audience onto the dancefloor. And it doesn’t take Gossip more than the first few beats to electrify their Post Punk. www.thegossipmusic.com www.myspace.com/gossipband
Fever Ray
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From: Stockholm, Sweden Style: Psychedelic, Ambient Debut album: “Fever Ray” (2009, Rabid Records) Label: Rabid Records Quote: “Half of what the songs are about is the subconscious.” Facts: Karin Dreijer Andersson, formerly singer with 90s pop hopes Honey Is Cool and now one half of The Knife, named her solo album and new project “Fever Ray”. The name mirrors her music: it is intense and anxious, yet still luminous. When The Knife decided to take time out in 2007, Karin Dreijer Andersson began to work on her own. Having composed the songs in eight months, she took half to Christoffer Berg – who mixed The Knife’s work –, half to Stockholm production duo Van Rivers & The Subliminal Kid for a final brush and tickle. “I think the music should be able to stand alone without interference, just like the artist’s look. That’s something you find out during the process, it’s a steady ongoing process about how you survive. When you work with music, you can create magic”, Andersson says. Fever Ray works its magic. At springnine, you could easily fall under Fever Ray’s spell. http://feverray.com www.myspace.com/feverray
Bodi Bill From: Berlin, Germany Style: Electro, Folk, Pop Label: Sinnbus Facts: Bodi Bill blend club culture and folk aesthetics. The German trio effortlessly connects elements of Electro, Folk and Indie to create beautiful pop songs. They let the music develop its melancholia, combining the interplay of modern Elektonica’s unaccommodating coldness on one hand, with the intimacy of chamber music–like compositions on the other. A mere year after their acclaimed album debut “No More Wars”, Bodi Bill released their second album “Next Time” in 2008. With a lingo even more concise and a pinpoint execution of their pleas and appeals, Bodi Bill up the ante with a delicate and charming, yet demanding masterpiece. On stage, the trio doesn’t play hide and seek behind the laptops – Bodi Bill dance impassionately to their own music. www.bodbibill.de www.myspace.com/bodibill
Mr. Oizo From: Paris, France Latest album: „Lamb Anger“ (2008, Ed Banger Records) Label: Ed Banger Records Facts: The fluffy yellow stuffed animal was not the first to headbang to Mr. Oizo’s tracks back in 1999. Laurent Garnier had spotted Mr. Oizo’s talent for electronic music. Quentin “Mr. Oizo” Dupieux sees himself as a filmmaker first of all. For his latest album French Electro Rapper Uffie joined Mr. Oizo for a guest track. www.myspace.com/oizo3000
Acid Symphony Orchestra From: Varsinais-Suomi, Finnland Instruments: Ten Roland TB-303 bassline synthesizers and either one TR-808 or TR-707 drummachine. Conducted by: Jori Hulkkonen Facts: Ten men in black suits sit in a row, wearing headphones and each one holding a Roland TB-303 synthesizer on his knees. For ten years, Jori Hulkkonen has had the idea of a symphony for synthesizers. All these synthesizers are monophonic which means they can only produce one note at a time. The Association for Experimental Electronics in Helsinki built a special machine to synch the ten synthesizers. The big appeal to Jori Hulkkonen is improvisation: he has a mixer on stage, a drum machine and he controls what everybody is feeding from their Roland TB-303. At the springnine festival, the Acid Symphony Orchestra will play their first concert in Austria. www.myspace.com/acidsymphonyorchestra
Diplo
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From: Philadelphia, USA Style: diverse smash mixing Already a classic: “Paper Planes” (2007) Label: Mad Decent Facts: His name is short for Diplodocus and derives from his childhood fascination with dinosaurs. Diplo is a DJ, producer and songwriter, always looking for fresh beats. He is best known for his work with M.I.A., they wrote and produced “Paper Planes” in 2007. Diplo has played a key role in bringing Baile Funk from Brazil to the dancefloors in Europe and the USA. Just recently he has announced a joint venture between his label, Mad Decent, and Downtown Records. At springnine, Diplo will perform for the first time ever in Austria! www.maddecent.com | www.myspace.com/diplo
Fake Blood From: London, UK Style: Grind Core, Idol Pop Says: “I make music – and I take your music and do what I want with it.” Remixes for: Armand Van Helden, The Black Ghosts, Underworld Facts: British House and Electro producer Fake Blood is one half of the indie dance outfit The Black Ghosts. His original productions include club cuts like the Fake Blood theme “Splashing Blood” and “Mars” as well as tunes which were used in commercials for beer and cars. www.myspace.com/welovefakeblood
Boy 8-Bit From: London, UK Labels: Body Clap, Mad Decent, Trouble and Bass Facts: His stage name comes from the fact that Boy 8-Bit used to use Amiga computers to make music when he was fifteen years old. They used to use 8-Bit samples. Boy 8-Bit creates stunning bits and pieces which span a multitude of electronic genres and are characterised by bass, breakbeats and seamlessly chopped up vocals. Sounds like: Super Mario gone clubbing www.myspace.com/boy8bit
Plaid
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From: London, UK Label: Warp Records Style: Ambient, Techno Facts: Plaid is a British electronic music duo: the old school friends have been recording together since 1988. As former members of The Black Dog, their discography goes back to the early 90s. In 1993 they were signed by Warp Records and have continued to work with them since. Plaid have remixed and collaborated with many artists including Björk, Goldfrapp, The London Sinfonietta, Nicolette and Unkle. Plaid meld Hip Hop, Break Beat and Techno in their tracks. Their new album entitled “Scintilli” will be released this year, and Plaid already play some of the material destined for it during their live shows. www.plaid.co.uk
Jackson and His Computer Band From: originally Paris, France Debut album: “Smash” (2005, Warp Records) Sounds like: Romantic Punk, Subversiv Pop Facts: A Parisian to the core, the DJ and producer Jackson Fourgeaud currently resides in Berlin where he is working on his second album and preparing an eye-opening live show. Fourgeaud has been enchanting the electronic world for a few years now: he is best known for the single “Utopia” in 2003 and his remix of M83’s “Run Into Flowers”. He describes his wild, romantic electronic pop music as “antique futurism” and a “style orgy”. www.myspace.com/jacksonand
Joakim
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From: Paris, France Label: his very own Tigersushi Says: “Making a pure dance album would almost be like composing an album entirely in F major.” Facts: The style of the “Godfather of French electro” is hard to pin down: part club music, part Jazz, part electronic experimentalism. Joakim discovered electronic music after a schoolfriend left his synthesizer in his room. His first album “Tiger Sushi” was ambient Electro Jazz, his latest release covers his “Best Remixes”. With a friend he made one of the oddest mixed compilations ever, the critically acclaimed “Miyage” released in 2003, a musical trip starting on exotic islands and ending with a cover of The Smiths’ “Meat Is Murder”. The Tigersushi label has its own fashion collection – “Tigersushi Furs”. Joakim is also a remixer and finally, he has a live band too called Joakim and the Ectoplasmic Band. www.joakimikaoj.com www.tigersushi.com
Holy Ghost! From: New York City, USA Style: Space Disco Label: DFA Facts: The funky Dub-Disco duo, Nicholas Millhiser and Alexander Frankel, was part of the Hip Hopsextet Automato. They did one of their recent remixes for Moby: Holy Ghost! which strips the original “I like to move in here” back to a vocal sample and rebuilds it around Arthur Russel horns and a lingering stench of Paradise Garage disco. www.myspace.com/holyghostnyc
House of House From: New York City, USA Style: nomen est omen Debut 12’’: “Rushing to Paradise (Walkin’ These Streets)” (2009, Whatever We Want Rec.) Label: Whatever We Want Records Facts: House Of House is the New York City-based dance music duo of Saheer Umar, Afrika Islam’s nephew, and Olivier ‘Liv’ Spencer. They are influenced by the classic sounds of New York and New Jersey Deep House, seminal Techno outfits like Basic Channel and the soulful sounds of Imagination, Womack and Womack and Sade. www.HouseofHouse.net
Diskokaine From: Vienna, Austria Who? Wolfram marfloW Eckert Style: Dirty Electro, Cosmic Labels: Gomma, Diskokaine Side project: Sally Shapiro Facts: Diskokaine records look like they were designed by the forefathers of Italo Disco with their bloated label lettering and flashy sleeves. For the label’s debut release “Lick The Alphabet”, Wolfram Eckert got support from none other than Concetta Kirschnner aka Princess Superstar. www.diskokaine.com www.myspace.com/diskokaine
Patrick Pulsinger From: Vienna, Austria Style: Electro, Experimental, Jazz Remix clients: David Holmes, Petshop Boys, Lamb, Grace Jones, DJ Hell Facts: He is an icon in Austria’s electronic music scene: Patrick Pulsinger has produced music for more than 15 years and is well known in a variety of contexts, due to his wide range of international releases and live appearances. One exceptional example is his adaptation of the classic ballet piece: “Swan Lake” at the Volksoper Vienna in 1999. Pulsinger has also made film scores, for example for “Nacktschnecken” by Michael Glawogger. He runs the feedback studio in Vienna, where he records and produces his own projects, as well as other bands, and runs a mastering suite. www.myspace.com/patrickpulsinger www.feedback-studio.com
Arabian Prince aka Professor X
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From: Compton, USA Who? Mik Lezan Style: Hip Hop, Electro Label: Stone Throw, Clone Records Facts: Arabian Prince founded the ground-breaking and genre-defining west coast hardcore Hip Hop-group N.W.A with Eazy-E and Dr. Dre. He was involved in producing the albums “Straight Outta Compton” and “N.W.A. and the Posse” (1987) which is regarded as the first “Gangsta-Rap”-album. He also produced and co-wrote the platinum selling song “Supersonic” by the girl group JJ FAD. His song Professor X (Saga) is regarded as one of the greatest Electro Funk records of all time. In 2008, Arabian Prince received the prestigious ASCAP award as a writer on the song “Fergalicious” by Fergie of The Black Eyed Peas. In the same year, his electro anthology “Innovative Life” was released on Stones Throw, it is a collection of his Electro Rap work recorded between 1984 and 1989. www.myspace.com/arabianprince
Beat Junkies From: Los Angeles, USA Style: Hip Hop Label: Beat Junkie Sound Facts: J. Rocc, DJ Curse, Rhettmatic, Babu, Melo-D, DJ What?!, Mr. Choc, and Shortkut came together in the early 90s, stemming from various mobile DJ units throughout Los Angeles County and the Bay Area. Each one of them is a real specialist in turntablism. As a platform for their productions and mix CDs, the Beat Junkies own and operate their own label, Beat Junkie Sound. www.myspace.com/beatjunkies
Rainer Trüby From: Freiburg, Ger many Style: Nu-Jazz, Soulful House Label: Compost Quote: “U cannot download a bottle of wine” Facts: Rainer Trüby is a wine connoisseur and vinyl-junkie. He is a DJ, remixer and producer with the Trüby Trio. Ever since their foundation in 1997, the art of remixing has been extensively exercised by the three Trüby Trio members, Rainer Trüby, Roland Appel and Christian Prommer. Amalgamating different flavours like Brazil, Latin, Boogie, Tech-House, Electro, Drum’n’Bass or even Disco has led to the guys being inventors of a wholly new dance genre. www.myspace.com/rainertrueby | www.compost-records.com
Jimpster
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From: Essex, UK Style: Deep House, Jazz Label: Freerange Records Facts: Jimpster is the project of producer and Freerange Records label founder Jamie Odell. For the last 17 years, Odell has been producing, remixing and DJing. With an emphasis on the deeper end of electronic House Music, but not afraid to stray from the path, he retains an Old School approach. www.myspace.com/jimpster
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Julietta From: Munich, Germany Style: House, Techno Facts: Julietta convinces with ease: she arranges her drifty House sets which contain influences from Jazz, Breaks, Minimal and Electro. Julietta is a resident DJ at Harry Klein, Munich. www.myspace.com/lajulietta
A Mountain of One
page 118
From: London, UK Who? Mo Morris, Christopher Leo Elstob, Zeben Jameson Style: Progressive, Psychedelic, Tropical Wisdom: “Spread love and you will receive it. Never buy a solar powered torch.� (Mo Morris) Label: 10 Worlds/Inertia Facts: A Mountain Of One make epic 21st century psychedelic Rock. There are few bands around right now that are comparable to AMO1. The three band members come from the world of underground Techno, they are studio hounds and beat-masters and familiar with the demands of clubs and dancers. www.myspace.com/amountainofone
Laurent Garnier From: Paris, France Style: Techno, House Label: Pias Facts: Laurent Garnier is one of the most important personalities in the French electronic music scene and across the borders. The DJ, producer and label mastermind began DJing in Manchester in the 80s. In the legendary Haçienda club the Stone Roses and the Happy Mondays would dance to his House sets. Back in Paris, Garnier was running the “Wake Up” parties at the Rex club in the early 90s and began recording. In the book “Electrochoc”, Laurent Garnier and David Brun-Lambert tell the story of Techno music over the past fifteen years through Garnier’s career. Over the last years, Laurent continued touring across the world both as DJ and with his band for live concerts. Remixes and 12’’ vinyles are constantly added to his discography, he composed and produced music for contemporary choreographers like Pietragalla or Preljocaj as well as music for exhibitions and films. His long discography includes now some DJ mix compilations, a retrospective of his work on F Communications imprint and a live album. In 2008, “Back to my roots” was released, and this spring, Laurent Garnier presents “Tales of a kleptomaniac”, his brand new album. At springnine, Laurent Garnier will be playing a full live show for the first time live in Austria. www.myspace.com/garnierlaurent
The Japanese Popstars
page 119
From: Derry, UK Style: They themselves call it a “stadium rave attack” Debut album: “We Just Are” (Gung-Ho Recordings, 2008) Share their label, Gung-Ho Recordings, with: Underworld, Aphex Twin, Cinematic Orchestra. Facts: The three-piece DJ unit creates progressive big-beat, multi-textural dance epics which rock clubs. The Japanese Popstars remixed Beyonce as well as Ting Tings and besides their own massive tracks they have original chill out pieces too. Decky Hedrock has a great love for Japanese films and comic books so they called themselves “The Japanese Rockstars”, regarding the name slightly ironic as back then they could not be further away from Japan and superstardom. So far, they have toured Japan and got their own brand of Nike trainers, called JAPSTARS01. At springnine, The Japanese Popstars will play a DJ set and perform a live gig. www.myspace.com/thejapanesepopstars
Mr Flash From: Paris, France Style: Rocky Electro Label: Ed Banger Records Quote: “I have my dreams and hopes from childhood in my mind when I’m making my music: Memories such as Rock, Rap, Disco, rainbows, school fights and pancakes with Nutella.” Facts: “Radar Rider” by Mr Flash was the first release of the celebrated Parisian Ed Banger Records Label, back in 2003. Before he joined Pedro Winter’s label, Mr Flash produced the French collective TTC under the alias Flash Gordon. His own productions mix the audacity of Hip Hop with the finest French House and feature some great Rock guitar riffs. In 2008, after remixing Mr Oizo’s “Positif ”, Flash produced three tracks for New York Rapper Mos Def. www.myspace.com/mrflashsmuggler
Shantel
page 120
From: Frankfurt am Main, Germany Last Album: “Disko Partizani” Label: Essay Recordings Facts: Stefan Hantel aka Shantel has definitely brought Balkan music to the dancefloor. His special blend of traditional Balkan and electronic music is enriched live by the musicians of his own “Orkestar”. Shantel knows how to turn a club into a temporary autonomous zone: Planet Paprika is a mobile place with strong belief in the possibility of a genuine European Pop Music. The North meets the South, and Shantel is joined on stage by a singer and musicians playing the accordion, the violin and a trumpet. At springnine, Shantel will exclusively present some tracks from his upcoming album, due to be released in August this year. www.bucovina.de
DJ Pierre Who? Nathaniel Pierre Jones a.k.a. DJ “Wildpitch” Pierre From: Chicago, USA Style: Afro Acid, House Facts: DJ Pierre is a pioneer of Acid House. In 1985, he formed Phuture with his friends Spanky and Herb J and they released their epic “Acid Trax”. With this magic tune House Music’s evil twin Acid House was born. More than twenty years later, Acid is as edgy as ever, rattling bass bins, melting iPods and inspiring a new generation. Currently, he is working on his Afro Acid Project as the producer, songwriter, engineer and, in some cases, vocalist. Pierre’s latest production “I’ve Lost Control” is out in Gigolo Records. He will release “Louie Vega vs. DJ Pierre’s Da Jungle” on his own imprint Afro Acid in spring 2009. www.myspace.com/djpierresafroAcidproject www.djpmuzik.com
Phuture 303
page 121
From: Chicago, USA Style: Acid, House Classic 12’’: “Acid Tracks” (1987, Trax Rec.) Label: Afro Acid Facts: With the classic hit “Acid Tracks” the dance music world was turned on its head. It was around 1984 when Spanky and Herb Jackson searched high and low throughout the city of Chicago for a Roland TB 303 just to make bass lines. Later, DJ Pierre joined Spanky and Herb and from this legendary moment House Music was born. In the late 90s, Spanky and Prof. Trax finally decided to keep Phuture 303 as duo. www.deejaybooking.com/phuture303 www.myspace.com/phuturemuziq
Jussi-Pekka From: Tampere, Finland Who: Jussi-Pekka Parikka, also known as jussipekka, j-p parikka or monoder. Style: Acid, Techno Quote: “I don’t play music I don’t like. Some DJs do it for the money, but I do it to support the music I love.” Label: Frozen North Rec. Facts: Hailing from the frozen north, with the highest amount of mobile phones and internet connections per head, where saunas, reindeers and keskikesä rule your life, in the dark days it seems like kind of a logical conclusion to lock yourself away into the studio – according to Jussi-Pekka. In his productions he combines Detroit Techno, groovy beats and Acid elements. www.frozennorthrecordings.com www.myspace.com/frozennorthrecordings
Jori Hulkkonen
page 122
From: Helsinki, Finland Style: House Label: F-Com Quote: “Facebook. Just to let you know: I’m not there.” Facts:. Hulkkonen is a composer, producer, DJ and has remodelled tracks for artists such as The Presets, Goldfrapp, Chromeo, Robyn or José Gonzales. One pseudonym/collaboration in 2001, namely as Zyntherius with a certain Tiga, resulted in the quarter of a million selling “Sunglasses At Night”, including a Top Of The Pops performance. His ninth artist album “Errare Maschinale Est” was released on Laurent Garnier’s legendary F communications imprint. At springnine, Hulkkonen will also conduct the Acid Symphony Orchestra, invlolving ten Roland TB-303 bassline synthesizers and one TR-808 drummachine. www.jorihulkkonen.com www.myspace.com/jorihulkkonen
Functionist From: Vienna, Austria Style: Club tracks from Hip Hop to Booty Basss, Electro and Fidget House Recent album: The Functionist presents Coalitions Part One (2008, Defusion Records/Hoanzl) Facts: Functionist is already an Austrian radio legend, hosting the Hip Hop show Tribe Vibes as well as the mixshow FM4 Unlimited on Radio FM4. On his new album “The Functionist presents Coalitions Part One” he compiles a selection of songs he recorded during his trip through the USA and Canada. The search for musical encounters in the real world outside the radio studio takes him from New York to Los Angeles. Hip Hop is the driving force in the background. http://functionist.com
DJ Beware From: Vienna, Austria Style: Ghetto Dance Music Label: Man Recordings Facts: Born in Hong Kong, DJ Beware grew up in England and today lives and works in Vienna, Austria. He hosts the daily cross-genre, eclectic styles mixshow FM4 Unlimited on Radio FM4 with Functionist. DJ Beware can call himself Hong Kong DMC Champion for the years 2001 until 2003. Last year, his “Rio Baile Funk Breaks” were released on Man Recordings, this year he has been touring with the Indie Rock Rap outfit Mongrel. www.myspace.com/bewarebewarebeware
Mumdance
page 123
From: London, UK Style: Grime, UK Garage, Mash Up, Electro Facts: Mumdance is an umbrella term used to describe the various activities of Jack Adams esquire. He puts on parties, DJs and recently started making music. Diplo likes his way of doing remixes so much he asked Jack Adams to do some for Santigold and the new wave tropical pioneer El Guincho. DJ sets by Mumdance comprise of many different genres of bass driven music re-contextualised and played in quick succession. These include live edits, loops and effects, and span almost every electronic genre in a set. www.myspace.com/mumdance
Round Table Knights From: Bern, Switzerland Style: Lacking any definite style with a lot of style. (Word Magazine) Facts: The Round Table Knights are a DJ and producer duo consisting of Questionmark and Biru Bee aka DJ Atomik. The RTK play all kinds of electronic, acoustic, futuristic, exciting, romantic and intense music. www.roundtableknights.ch
Fennesz From: Vienna, Austria Who? Christian Fennesz Style: Experimental, Ambient Label: Touch Facts: Christian Fennesz is one of Austria’s most renowned artists in the world of electronic music. He creates melodies and atmospheres that fuse classical and orchestral concepts with conceptual musical research and complex digital structures. Fennesz released two albums with Ryuichi Sakamoto, collaborated with Mike Patton, created score for films and dance and knocked out some remixes. His latest album, “Black Sea”, was released last year. With its guitar/laptop-compositions, it is state of the art of advanced electronic music and critically acclaimed worldwide. www.fennesz.com
Skinnerbox
page 124
From: Berlin, Germany Who? Iftah Gabbai, Olaf Hilgenfeld Style: Minimal Techno Facts: Very fragmented Minimal Techno is their speciality: the duo Skinnerbox play with analog moog synthesizers and pattern sequencers. They knob the buttons live as well as in the studio: their upcoming album was developed through live sessions. Tracks have funny names like “Turteltaube” and score with their playfulness. www.myspace.com/myskinnerbox
Michael Reinboth From: Munich, Germany Style: Disco House, Electronica Label: his very own Compost Records Facts: Michael Reinboth is the founder and owner of Compost and sub-labels like Compost Jazzanova Records. Since the late 70s, Reinboth has been digging deep into music, working as a journalist, artist, producer and composer. www.myspace.com/michaelreinboth
Tosca
page 125
From: Vienna, Austria Style: Downtempo, Electronica Label: !K7 / G-Stone Facts: Slow down. Relax. Take a deep breath. Steal back an hour from your busy life. This really is worth your full attention. Tosca, the Viennese masters of deluxe soundscapes and sensual rhythms, are back with their most magical and mesmerising album yet. It’s called “No Hassle”. Multi-instrumentalists Richard Dorfmeister and Rupert Huber have been friends since their Vienna schooldays, when they founded their first experimental band, Dehli 9. Richard later became half of the globally acclaimed DJ-producer duo Kruder and Dorfmeister, while Rupert composed piano music, soundart installations and acoustic networks. But the duo rediscovered their musical chemistry again with their Tosca debut, the 1994 12” Chocolate Elvis. A string of highly praised albums and remix collections followed. No Hassle is Tosca’s fifth studio album, and their most beautiful musical statement so far. A luxurious tapestry of analogue and digital sounds, submerged samples and live instruments, it evolves and expands into an hour-long ambient symphony. The title reflects not only the duo’s laidback approach to making music but their whole philosophy of life. (Stephen Dalton) www.g-stoned.com/artists/tosca www.myspace.com/toscak7
Fritz Fitzke From: Vienna, Austria Facts: Fritz Fitzke has been creating visuals since 1989. He is the visual director of the K&D Live Sessions, an experimental photography artist and is permanently in search of new ways to combine audio and video. Fitzke places an emphasis on slide and video projections with light design for music, theatre and dance performances. For his visual art, Fitzke uses all different kinds of media, especially slides and video combined with music or spoken word. At springnine, the visual transformation of Tosca’s “No Hassle” live will be all his. www.fitzke.at
The Whip
page 126
From: Salford, UK Who? Bruce Carter (vocals/guitar), Fiona Daniels (drums), Danny Saville (machines/ synthesisers), Nathan Sudders (bass) Style: Dance Punk, Indie-Electro, New Rave Debut album: “X Marks Destination” (2008, Southern Fried Records) Friends with: The Teenagers Just a band? Since their first single “Frustration” in 2006, the young drummer woman, Lil Fee, and her three colleagues of The Whip have been proving that Indie Rock can be played with electronic instruments only and have been on tour with Simian Mobile Disco and Hadouken!. Their debut album was produced by Jim Abbiss who has worked with the Arctic Monkeys, Ladytron and Adele. After their first appearance at springseven they will return to play a live show as well as a DJ set at springnine. www.myspace.com/thewhipmanchester
WhoMadeWho From: Copenhagen, Danemark Style: Dance Punk, Indie Rock Latest album: “The Plot” (2009, Gomma Records) Facts: The Danish trio formed in 2003: bassist Tomas Hoffding had come from the Scandinavian Rock underground and singer, songwriter and guitarist Jeppe Kjellberg from the avantgarde Jazz scene. They joined drummer Tomas Barford aka Tomboy. WhoMadeWho are well known for their live shows. Josh Homme of Queens of the Stone Age covered “Space to Rent” after seeing them play. “The Plot” is their second album after their self-titled debut in 2005. Springfestival regulars will remember their performance at springseven wearing nothing but underpants and angel wings. www.whomadewho.dk
MIXHELL
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From: São Paulo, Brazil Who? Ex-Sepultura drummer Iggor Cavalera, his wife and producer Laima Leyton Style: Grindcore Tropica Ghetto Tech Label: Kitsuné Facts: MixHell was formed by Iggor Cavalera, Sepultura’s ex-drummer, and his wife, the producer Laima Leyton. Cavalera swapped the drumsticks for an Akai MPC-sampler and turntables, bringing his original identity to MixHell’s banging DJ set: it is a heavy mixture of Rock, Disco Punk, ElectrobangerGhettotrash and underground dance floor beats. MixHell combine Jane’s Addiction, Justice and the Crookers in one mix. A bit of Baile Funk here, some Iron Maiden there – MixHell’s awesome DJ sets combine dance floor and Hard Rock. For springnine, MixHell bring along some of their friends for DJ-sets, including one super special surprise guest. www.myspace.com/mixhell www.myspace.com/mixhellremixes
Wildlife! From: Bern, Switzerland Style: Tropical, Electro, Punk Label: Yuhzimi Remixes for: Radioclit, Crystal Castles, Ghislain Poirier, The Dø Facts: In his mind Wildlife! is a child of the magic historic moment when Punk Rock and Reggae met in clubs in London at the end of the 70s. Being inspired by Don Letts, the Sex Pistols and The Clash, Wildlife! started by playing drums in Punk bands, later operating the sound system at Dancehall-stages throughout Europe. Dancehall led him to Jamaica. With his productions for Terry Lynn’s debut album “Kingston Logic 2.0” he put his name on the map. At springnine Wildlife! will be performing with Terry Lynn. www.myspace.com/itswildlife
Terry Lynn
page 128
From: Kingston, Jamaica Style: Reggae Label: Phree Music, Last Gang Records Debut album: “Kingstonlogic 2.0” (2008, Phree Music) Facts: The 9th of nine children, Terry Lynn was born and raised in Olympic Gardens, otherwise known as WaterHouse, an impoverished area in Kingston, Jamaica. As a female with a different perspective, Terry didn’t fit into the local studio system of rapid recording and was frustrated by the frivolous sounds and hook-driven subject matter. She writes songs capturing her life experiences as she lived them and removed from the local grind of competing on repetitive Dancehall riddims. Kingstonlogic is independently owned and shared between artist and label and released globally. www.myspace.com/terrylynnkingstonlogic
Journal für Musik # 78, 4–6/2009 EUR 4 www.skug.at
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Toy Selectah From: Monterrey, Mexico Who? Toy Hernández Style: Tropical, Hip Hop Label: Mad Decent, Bersa Discos Facts: The mix-master wizard for Monterrey’s Hip Hop en Español Pioneers Control Machete created a whole new hybrid by mixing mexican soundscapes with contemporary urban riddims. As a music producer and remixer, Toy Hernández has been working with a long list of artists such as: Diplo, Thievery Corporation, Federico Aubele, Shakira, Julieta Venegas, Kinky, Manu Chao, Eminem and Cypress Hill. Lately he has been galloping the rural rhythms of ColombianMexican Cumbias, Hip Hop, breakbeats and Reggae creating his own trademark sound, live soundsystem and band called Sonidero Nacional. www.myspace.com/toyselectahdj
Goldie
page 130
From: London, UK Status: Metalheadz founding father and genre legend Facts: It all began in 1991, the Rave scene had emerged from Acid House and the well-travelled Walsall born B boy Goldie was taken to a club night called Rage at Heaven by his new girlfriend Kemistry and her flatmate, known as DJ Storm. A year later Goldie – a name he got while customising gold teeth – released “Terminator”. With its dark atmosphere, steely breakbeats and restless vibe the track introduced what was to become a must in Jungle production, timestretching. Jungle had reached another level. He set up his own Metalheadz imprint and released the sumptuous “Timeless”, a twisted hymn to urban Britain. Hailed unanimously, the album sold over 250,000 copies, comforting Goldie as the spokerperson of the hippest scene of the times. Fame kept rising beyond music. While turning into a bona fide celebrity, Goldie never ever lost touch with his Jungle roots and was often spotted in the middle of the dancefloor at his own club nights, or paying respects to Grooverider or Randall. For the last few years, Goldie has DJed all over the world, still one of the highest profile ambassador of Drum’n’Bass. At springnine, Goldie will be a guest at the Red Bull Music Academy Sessions and later playing with MC LowQui. www.metalheadz.co.uk
MC LowQui From: London, UK Style: Drum’n’Bass Facts: MC LowQui is a lyricist with a diverse style and one with many affiliations: Metalheadz, Digital Soundboy, Widescreen, Bassbin and Widescreen to name but a few. His range stretches from deep to fast and flowing with rolling lyrics with meaning that connects and engages the audience. LowQui is a crowd entertainer who has held down a number of residencies with club nights from Essence of Chi, Traffic, Metalheadz and even Technicality. It’s no surprise that LowQui is Goldie’s number one MC of choice. They went on stage in Sydney in Batman costumes and MC LowQui chose Melbourne to be his new residence. No need to be afraid: he is still touring a lot and will perform at this year’s springfestival with Metalheadz founding father and genre legend Goldie. www.lowqui.com
LTJ Bukem
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From: London, UK Who? Daniel Williamson Classic album: “Journey Inwards” (2000, goodlooking Rec.) Facts: Drum’n’Bass producer, DJ and head of the goodlooking organisation of labels and artists. He was trained as a classical pianist and discovered Jazz fusion in his teenage years, having a Jazz Funk band at one stage. In the late 80s, he started out playing House, later setting up his goodlooking label and releasing seminal Jungle tracks like “Demon’s Theme” and “Music”. LTJ Bukem was one of the first to use the Amen Break in Jungle, a drum solo performed by Gregory Sylvester “G.C.” Coleman quite popularly used as a sample. At springnine, it will be LTJ Bukem feat. MC Conrad. goodlooking – it’s all a matter of opinion. www.myspace.com/therealdannyltjbukem www.goodlooking.org
MC Conrad From: London, UK Style: Drum’n’Bass, Hip Hop Label: goodlooking Records Facts: MC Conrad is probably best known for his collaboration with Drum’n’Bass DJ LTJ Bukem as well as with other artists on Bukem’s goodlooking Records. He is notable for distinct vocal style, sounding bright and atmospheric on top of Drum’n’Bass tracks. After world tours Conrad has taken all his experience and thrown it into the studio. The result was the massive “Golden Girl”, a collaboration with Makoto. In keeping with the sprit of his performances as an MC, nothing remains static, and every performance promises to be different to the last. At springnine, MC Conrad will be performing alongside LTJ Bukem, goodlooking– it’s all a matter of opinion. www.myspace.com/mcconradw2bh
London Elektricity
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From: London, UK Style: Drum’n’Bass Label: Hospital Records London Elektricity was founded in 1996. Back then and up until 2002 it was a double-act. Tony Colman and Chris Goss made their mark in 1998 with their debut album “Pull The Plug”. In 2002 Tony Colman took on the project solo. With the release of “Billion $ Gravy” in 2003, London Elektricity Live was born. London Elektricity performed at the very first springfestival and will return this year for springnine. www.myspace.com/londonelektricity
Alix Perez From: London, UK Style: Drum’n’Bass Label: Metalheadz, Shogun Audio, Soul:R Facts: London based Alix Perez started DJing at the age of 14 and progressed into production at seventeen. He already has a plethora of releases on established labels such as Shogun Audio, Liquid V, Bassbin, Creative Source, Horizons, Progress, Brigand and Fokuz, and is known for his Liquid Funk sound. www.myspace.com/alixperez
MC A.D. From: London, UK Style: Drum’n’Bass, Hip Hop Facts: MC A.D. began to MC back in 1994 at the early age of 16 at one of London’s Pirate stations. He started working with the likes of DJ Zinc, Loxy and MC Rage and later met Clayton Hines and became a resident at Renegade Hardware. A.D. has toured with DJ Ink. Hype asked him to join the rest of the residents at Playaz and become his personal MC at the time. Now after many years and many tours for Playaz A.D. still maintains a string of UK residencies. www.myspace.com/mcad1
Stamina MC
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From: London, UK Style: Drum’n’Bass Facts: After the success of DJ Marky & XRS’s track “LK” and D.K & Epsilon’s “Barcelona” both which featured Stamina’s vocals, the MC’s career skyrocketed and has brought him all over the globe: to Brazil, Australia, New Zealand, the USA, Japan, and of course all over the UK and Europe and beyond. 2008 saw Stamina not only continue his work alongside DJ Marky but also join Shy Fx during his album tour throughout spring. Stamina is also spreading his wings in the rave circuit aiming to bring a different flavour to the masses. For the future Stamina’s plan is simply to go where the music takes him – to MC with a range of DJs and styles, and to take on more studio projects both vocal and production-wise.
Radio Slave From: Berlin, Germany Style: Fusion, House Label: Rekids Side-projects: Quiet Village, Sea Devils, Rekid, Matthew E Facts: Radio Slave is Matt Edwards’ most instantly recognisable nom de guerre, thanks in part to his inspirational melding of Kylie’s “Can’t Get You Out Of My Head” to New Order’s “Blue Monday”, this is Edwards’ DJ moniker and the guise under which he completes his incendiary remixes and re-edits. Fired by the first wave of Acid House, Matt Edwards gained his musical spurs by partying to dance music that was just that: music you danced to, irrespective of tribal factions. This was the raison d’être he acknowledged when he took to the decks, first at London’s legendary Milk Bar in 1992, then across the country to Brighton, his home since 1998. His love of re-edits, dance music’s oft-forgotten backbone, led Edwards into the studio himself. His own reedits and remixes, such as the aforementioned epoch-defining re-imagining for Ms Minogue (completed with his former partner Serge Santiago), soon gave way to his own productions and since the floodgates opened there has been no stopping the man known as Matthew E, Quiet Village, Sea Devils, Rekid and Radio Slave. www.rekids.com
Martin Eyerer
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From: Stuttgart, Germany Style: Electro, Tech-House, Minimal Debut album: “Word Of Mouth” (2008, Kling Klong Records) Labels: his very own Kling Klong Records and Session Deluxe Facts: Martin Eyerer has been a DJ for twenty years and just as many years a producer, label owner, radio show producer. Always keen for new music, he never used the same presets for two tracks while producing his album. www.martineyerer.com
Paul Brtschitsch From: Berlin, Germany Quote: “Live electronic music - no laptop!” Latest release: “Bridge Itch” (2008, Wolfskuil) Labels: Rootknox, Wolfskuil, Ostgut Tonträger, Leena Facts: Paul Brtschitsch is one of the rare genuine German Techno Live Acts. With experience at the legendary Omen club in Frankfurt during Techno’s formative years in Germany in the early 90s and the sound of Detroit as a stylistic checkpoint in mind, Brtschitsch developed his own narrative style over the course of twelve years. He is also a producer. In 2007, Brtschitsch founded his own label Rootknox. www.myspace.com/paulbrtschitsch
Maral Salmassi
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From: Cologne, Germany Style: Glamour Tech, Powerpop Label: Television Rocks Facts: Maral Salmassi describes her sound as: “Funky, playful glamour Tech which is more a combination of New York Wave Disco, Old School Hip Hop and Electro and French cut-up Hop than German Post-Minimal sounds and styles”. Born in Teheran, her family settled in Germany in 1986. Salmassi founded the notable Techno label Konsequent Records in 1997 and the new media label Art of Perception, before she teamed up with Zero Cash to found Television Rocks. www.myspace.com/maralsalmassi www.myspace.com/televisionRockscologne
Fukkk Off From: Hamburg, Germany Who? Bastian Heerhorst Style: House Label: Television Rocks, Coco Machete Facts: Fukkk Offf has been well-known in his hometown for some time for storming live sets in the clubs scattered around Hamburg’s red light district: before he delighted clubs in New York with menacing Electro House. www.myspace.com/fukkkofff www.neighbour-hood.com
Zero Cash From: Cologne, Germany Style: Funky Techno, Cut-Up-House Label: Television Rocks Facts: Zero Cash made his first productions at age fourteen on his father’s computer using old school tracker programs, before he equipped his studio with his first synths and drum computers. Years later, after all the Acid, Noise and Trip Hop experiences Zero Cash decided to come back to dance music. He teamed up with Maral Salmassi and together they founded the Television Rocks label. www.myspace.com/zerocashelectroatomu www.myspace.com/televisionRockscologne
Acid Kids
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From: Germany Style: Electro-Clash, House, Digital-HawaiianWestern-Trash Label: Television Rocks Facts: Daniel Dexter, Topper Harley and X van Haag describe their music as “bumbumbastardpop”, they name the Velvet Underground as well as the Beach Boys as their influences and surprise with swinging breakbeats. www.myspace.com/Acidkids
Marcel Dettmann From: Berlin, Germany Style: Techno Labels: OstGut Ton, MDR, Rekids, Podium, Bpitch, Cocoon Quote: “Berghain? That’s my playground.” Marcel Dettmann ist one of the most important representatives of the sound of Berghain. The renowned club in Berlin as a musical and cultural lifeworld plays a big part in Dettmann’s life. Born in the GDR in 1977 Dettmann grew up with East German youth culture. Spinning records since 1994, he began to produce and release tracks in 2006. His ongoing fascination with techno was initially triggered by its combination of rebellion against existing musical styles and an inherent futurism. He is a resident at Berghain. www.myspace.com/marceldettmann
Ben Klock From: Berlin, Germany Style: Techno Debut album: “One” (2009, OstGut Ton) Quote: “I don’t plan the whole set - I like to story-tell but I also like to see where it takes me.” Facts: DJ and producer Ben Klock is a resident at the club Berghain in Berlin, playing various genres of Techno and a bit of House. Deep bass and dark groove are characteristic for his sets. www.myspace.com/benklock
Shed
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From: Berlin, Germany Style: Techno, House Labels: OstGut Ton, SoloAction, Delsin Facts: When Marusha, Monika Dietl and Westbam were mixing styles back in the middle of the 90s, Shed was into UK-Hardcore that favoured samples. On his latest album, “Shedding the past”, he brings together reminiscences of Techno in its early days with today’s various styles. Sophisticated melodies and stirring hooks meet airy arrangements. www.myspace.com/sheddingthepast Michael Rütten From: Frankfurt am Main, Germany Style: Soul, Jazz, Funk Quote: „Jazz is the teacher, Soul is the preacher.”
Facts: Michael Rütten has been digging for, selecting and presenting good music in his Soulpatrol/ Soulsearching radioshows for ten years now. He also writes about music in magazines like Jazzthing and Groove, and produces and remixes under the name soulpatrol with Max Schneider. www.myspace.com/michaelruetten
Sinden From: London, UK Style: Happy Hardcorde, Powerpop Label: Domino Facts: Graeme Sinden is a DJ-producer who is staying one step ahead as musical boundaries become ever blurred. Straddling a bass heavy club sound that also encompasses leftfield rock music and global beats, Sinden is renowned for his genre-blending DJ sets, his radio show on Kiss FM, his remixes for Lady Sovereign and Basement Jaxx among many others and for being the Sinden in The Count & Sinden. He is – alongside Herve - founding member of the Machines Don’t Care collective. Currently, Sinden is working on The Count & Sinden album, due for release on Domino Records in 2009. www.myspace.com/graemesinden
Tayo
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From: London, UK Style: Beats and Bass music, Dub Famous Mix-CD: “Fabric Live 32” (2007, Fabric/ London) Labels: Soul Jazz, Cool and Deadly Facts: Tayo is a truly genre busting DJ. Starting out as a promoter, DJ and label manager, he quickly took things to the next level, launching his own label Mob Records after mixing his first Y4K album in 2000. Leaving Mob Records behind in 2004 Tayo has continued to diversify. On the production tip Tayo has released records for Skint, Fat, Mantra Breaks, Functional Breaks, Bassrock and Passenger and worked with Acid Rockers amongst many others. He has done a plethora of remixes including reworkings of Jaydee’s “Plastic Dreams” & Dave Clarke’s “The Compass”. He was co founder of, and one of the residents at Basement Jaxx’s seminal Rooty club night in south London and rocking festivals from Homelands London to Creamfields Buenos Aires with his house music hat on. In 2008 he started his new label called Cool & Deadly with Lloyd Seymour from Supercharged/Against The Grain. www.myspace.com/djtayo3000
Rattus Rattus From: London, UK Style: Pure party mash-up! Everything and anything from Dubstep & Grime to Indie, Bassline, Electro and dark, dirty beats! Facts: As well as being an Urban Nerds selector from day one, Rattus Rattus has ventured out into UK clubland to regularly spin at a number of top underground nights including Vagabondz and Bigger than Barry. Un-phased by any genre, his unique mixing style and one off brand of mash-up mayhem when it comes to tunes makes Rattus a top favourite among Urban Nerdy punters looking to get their rave on! Now Rattus Rattus takes it to dizzy new heights alongside fellow Nerds DJ, Klose One on a mammoth 4 deck set that pushes dance music to its limits like never before! www.myspace.com/djrattusrattus
Klose One
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From: London, UK Style: Another no limits Urban Nerds spinner with an ear for bass heavy Dubstep as well as super dirty Electro and the most Minimal of late night beats. Facts: Klose One jumped inside the Urban Nerds ride soon after the night’s launch early in 2007. Since then he’s killed off dancefloors UK wide with an ultra-tight mix of eclectic party beats. Klose won’t be pigeonholed into one genre or scene, you can catch him playing fast-paced sets and mixing up Dubstep, 2 step, Bassline, Hip Hop, bashment, Breakbeat, Electro and classic dance tracks and always rocking the crowd in front of him. When he’s not Urban Nerding it he’s telling you to Do One! Do One! on the decks for Nerds family tree, ATG. It’s a Klose One! www.myspace.com/djkloseone
Illaman From: London, UK Style: The Urban Nerds host with the most, MC Illaman is in the BLAD CLAT building so get to know! Facts: Illaman officially wears the crown as the only MC to be a fully-fledged member of the Urban Nerds crew, supporting Rattus Rattus and Klose One with a raw-tongued lyrical assault that won’t take no for an answer! When this man’s about, you better BLAD CLAT move, you heard? After bursting on to London’s pirate radio circuit, Illaman’s first public appearance was in 1999 with Flict at the Battle of the Bands at notorious London nightspot, The Garage. A win saw them embark on a UK tour that grabbed the attention of the likes of Cypress Hill’s DJ Muggs. These days Illa’s a permanent fixture at Urban Nerds raves as well as joining Klose One at ATG’s dirty dances when he’s telling ya’ll to Do One! www.myspace.com/illaman
Heny G
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From: London, UK Style: Deep Dub, Dubstep and 2-step occasionally taking it back with nostalgic garage party sets. Facts: An institutional Dubstep producer hailing from West London, Heny G shot into the limelight with Antisocial Entertainment – a collective of DJs and producers, among them Kromestar, Silkie and Quest, each championing Dubstep to the max. Heny’s sound is a true sound, deep, dark dubs that have been played London wide in seminal Dubstep dances such as FWD>>, DMZ, Dub Pressure and many, many more. As if that’s not enough he’s also big in the pirate game after pioneering the rise of some of London’s top underground airwaves. The Urban Nerds invite Heny G to springnine to take it back to the early days of 2-step and Minimal Dub with Garage set not to be missed! www.myspace.com/djhenyg
Ordio Kid From: London, UK Style: Urban Nerds’ resident garage mystro brings the bass with Old Skool Garage, Up-front Grime, Bassline and all manner of underground anthems with clout. It’s a London ting! Facts: Mr O.K. has been an Urban Nerds resident since the very beginning, championing the finest up-and-coming sounds London has to offer. With an unrivalled collection of grimey tracks and a taste for classic Old Skool gems, the Ordio Kid always gets a crowd rocking! Two years down the line and dub plates are flying left right and centre from some of the capital’s top MCs and Ordio Kid moves from strength to strength at Urban Nerds and beyond! O.K. www.myspace.com/ordiokid
Jazzanova
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From: Berlin, Germany Style: Soul, Jazz Essential album: “In Between” (2002, Jazzanova Compost) Label: Verve, Solar Kollektiv Facts: The club collective of six belongs among a small, worldwide group of innovators when it comes to Dancefloor, NuJazz, Broken Beat, to modern Folk und Soul. Around the globe DJs and vinyl freaks adore Jazzanova. Their remixes for Masters At Work, Fat Freddys Drop, 4Hero or Ursula Rucker are gems. The six guys from Berlin have also enjoyed the feat of treating the most different of source material with respect and to simultaneously give it an unmistakable Jazzanova sound signature for such diverse artists as Lenny Kravitz, Common, Azymuth or Calexico. Gilles Peterson recognized their talent at an early stage and became their mentor. Their interest in songs as opposed to dance floor oriented productions has continuously grown. The songs on their second album “Of All The Things” (2008, Verve) are only a logical consequence of this development. www.Jazzanova.net
Eddy Meets Yannah Soundsystem From: Zagreb, Croatia Style: Jazz, House Label: Compost Facts: Zagreb-based producer, programmer, arranger, singer and devoted writer Yannah and producer, programmer, arranger and DJ Eddy team up to make a superb duo. www.eddymeetsyannah.com www.myspace.com/eddymeetsyannah
Kruder & Dorfmeister
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From: Vienna, Austria Label: G-Stone Facts: The iPod hadn’t yet been invented, new music was distributed on silver discs. It was 1997 when the young Japanese came to know Austrians other than Mozart by their names: Kruder & Dorfmeister. Peter Kruder and Richard Dorfmeister enthused people from Vienna to Tokyo, from San Francisco and back to Europe with their downtempo tunes. With their Mix album DJ Kicks released on !K7, the DJs and producers conquered the music world. “The K&D Sessions™“ highlighted their triumph: Kruder & Dorfmeister remodeled songs by Depeche Mode, David Holmes, Sofa Surfers and nineteen more artists and turned them into new tracks. One can’t call these works remixes. Kruder & Dorfmeister themselves prefer to call it sessions: they don’t just mix the songs anew, they interpret them. The duo took original pieces of music and accomplished classics. In 1994, Peter Kruder and Richard Dorfmeister founded G-Stone Recordings that today is one of the few renowned record labels in Europe to have remained independent. While Peter Kruder is busy working on his own and with Peace Orchestra and while Richard Dorfmeister is teaming up with Rupert Huber as Tosca, Kruder & Dorfmeister still find time to perform. At springnine, G-Stone will host an exclusive label night starring Kruder & Dorfmeister. www.g-stoned.com/artists/kd/
Rodney Hunter From: Vienna, Austria Style: Hip Hop, R’n’B, House Label: G-Stone Facts: “Timeless, modern Funk and Soul”’ is Rodney Hunter’s description for his sound. He is an icon in the Viennese producer and club-scene: “Rodney along with the Godfather Werner Geier started Uptight recordings and sent monstrous tunes our way like Leena Conquest’s ‘Boundaries’. Even today you can hear such luminaries as Gilles Peterson drop this extraordinary mammoth track at his wordwide gigs.” (Alan Brown) www.G-Stoned.com
Earl Zinger
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From: London, UK Who: Rob Gallagher Label: Red Egyptian Facts: Fearless beat master, legendary conqueror of bass lines and self-confessed braggart. Between 1988 and 1996, Rob Gallagher rode on the crest of the Acid Jazz wave with his band Galliano. Earl Zinger hacks through Reggae, Ragga, Dub, Big Band and musical Jazz, Dancehall and all kinds of wonderful sounds. He zaps through the styles like other people zap through afternoon talk shows. www.myspace.com/earlzinger
Ras T-Weed From: Birmingham, UK Style: Dub, Reggae Quote: “At home music was everywhere. My parents both sang. The boyfriends of my sisters were either musicians or Sound System entrepreneurs so I guess I had no real choice. I follow in a long tradition.” Facts: In the sphere of recording, Ras T-Weed has recorded in a wide variety of musical genres from the Electronic Nu Dance Hall of Al Hacca Soundsystem to the Underground Soundsystem and Stereotype of Vienna and to the UK Roots productions of Mellow Vibes main Murry Man. Ras T-Weed used to be a member of the legendary Rockers Hi-Fi. He has also picked up the mic and performed for Daddy G from Massive Attack, and more recently toured regularly with Makossa & Megablast. www.myspace.com/rastweed
Sugar B From: Vienna, Austria Style: Swound Dub Sound Label: G-Stone Records Facts: Sugar B is one of the true originators of the Viennese electronic music scene. He is the co-founder of the legendary Dub Club at Vienna’s club Flex. During the last twenty years, Sugar B has been DJing, accompanying Kruder & Dorfmeister as MC and hosting the radioshow Silly Solid Swound System on radio FM4 with DJ Makossa. www.Dubclub-vienna.com
Kissogram
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From: Berlin, Germany Style: Future Pop Music Label: Louisville Facts: Founded in the late 90s as teenagers, the Electropop-duo Kissogram conquered the German charts and club charts with “If I had known this before” (RMX by DJ Woody). Kissogram has toured with Peaches, Franz Ferdinand and Underworld. Their debut album “The Secret Life of Cap. Ferber” was produced by Gonzales and features Feist among others. For their latest and third album “Rubber & Meat”, they left their domestic studio and produced the album with international big shot Pelle Gunnerfeldt (producer of The Hives, Money Mark) in Stockholm. Kissogram’s sound is melodic, musical, with horns and thumping bass, smoke and character. www.kissogram.de www.myspace.com/kissogram
Kollektiv TurmstraĂ&#x;e From: Berlin, Germany Style: Minimal Techno, House Label: Musik Gewinnt Freunde Facts: Kollektiv Turmstrasse (KTS) is a project by Christian Hilscher and Nico Plagemann from LĂźbeck/Hamburg. It all started in 1999. Influenced by the likes of Basic Channel, the duo went about exploring and experimenting with sounds and styles. They fell in love with the burgeoning net audio scene and the idealism it represented (and continues to represent). The net audio scene was soon to become a major platform for Kollektiv Turmstrasse. In 2004, No-response.org, a net label for free electronic music, became a permanent home for KTS. Musik Gewinnt Freunde was born in 2006. Since then, KTS has followed up with releases on Ostwind Records, Connaisseur Records and of course on Musik Gewinnt Freunde. www.myspace.com/turmstrasse
Len Faki From: Berlin, Germany Style: Techno Labels: Len Series Podium/Figure Facts: Leni Faki is a resident DJ at the Berghain club in Berlin and known for his extra-long DJ sets which force him to vary in tone and style. He is both DJ and producer and founded the label Len Series including sublabels (like Podium) to explore musical depths. At Berghain, he also launched the Podium night, a quarterly event. www.myspace.com/lenfaki
Gregor Tresher
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From: Frankfurt am Main, Germany Style: Techno Label: Moon Harbour Facts: Electronic musician, DJ and producer Gregor Tresher gathered plaudits by modernizing the algorithms of electronic music in the past eight years. Techno has never been a fixed in his style of producing and DJing but more of an open reference-system between past, present and future of electronic music. www.gregor-tresher.de www.myspace.com/gregortresher
Uwe Walkner From: Linz, Austria Style: From Hip Hop, Funk & Dub to Electro, Breakbeat and Drum’n’Bass Facts: Uwe Walkner fuses broken beats of all tempos into a fluid dancefloor groove. His DJ-career began in 1995, two years later he started producing with Karl Moestl. Their first release on G-Stone, “Bluish”, established their mark as producers of deep broken beats. In 2002 they parted from G-Stone to develop their many production projects. www.myspace.com/uwewalkner
Karl Moestl Style: Minimal, Techhouse, Dubbeat Recent release: “Defusion – Bassdrumrocker Edition” (2008, Defusion Records/Groove Attack) Facts: “I am a dirty electric fusion” is Karl Moestl’s credo. The producer of the electronic duo WALKNER.MÖSTL released the bouncing album “Defusion – Bassdrumrocker Edition” (Defusion Records/Groove Attack) in 2008. Moestl founded the record label Defusion Records. www.karlmoestl.com
BOMB SQUAD
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From: New York City, USA Style: Live Electronics Label: Shocklee Innertainment Quote: “I want to be a hybrid of man and machine as opposed to being a performer that uses machines.” Hank Shocklee Facts: BOMB SQUAD and their trademark multilayered, innovative sonic masterpieces have been at the forefront of electronic music production techniques and they have been heralded in history. The force behind Public Enemy and some of most significant albums of all time, including “It Takes A Nation of Millions To Hold Us Back” and also Ice Cube’s “AmeriKKKa’s Most Wanted”, BOMB SQUAD is also credited with creating seminal recordings for a variety of other highly regarded artists such as Madonna, Janet Jackson, Slick Rick, Bell Biv Devoe, LL Cool J and Run DMC. BOMB SQUAD is now gearing up for the debut solo album with Hank Shocklee and Keith Shocklee serving as the front men for an album that will feature a combination of futuristic live electronics, visuals and vocals. Hank Shocklee
takes entertainment to the next dimension of sight and sound with his series of projects such as the Subsonic Frequencies. At springnine, Bomb Squad presents Subsonic Frequencies feat. Mala, Pinch and of course themselves – Bomb Suad. www.myspace.com/originalbombsquad
Mala (DMZ) From: London, UK Style: Dubstep Facts: Mala is part of the duo Digital Mystikz that is at the forefront of London’s Dubstep sound. Both DJs and producers, Coki and Mala have their roots in Jungle, Dub Reggae and Garage and are yet brand new; the sound which has emerged from London spreading a love of sub bass, skankin’ riddims and mystical melodies across the world. www.myspace.com/malamystikz
DJ Pinch From: London, UK Style: Dub, 2-Step Facts: The DJ, producer, promoter and label boss of his own Tectonic imprint is now widely credited as a father figure in the scene. He was the first to bring the sparse, austere and bass-heavy qualities of south London’s ‘Dubstep’ sound into Bristol’s clubland long before its current state of omnipresence existed. www.myspace.com/tectonicrecordings
Benji B
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From: London, UK Style: Underground Soul Facts: Benji B is a highly influential underground DJ and a radio producer and presenter: his show on the BBC’s 1Xtra goes on air every Monday midnight till 2 am. At age sixteen, Benji B had started producing Gilles Peterson’s “Worldwide” show live at Kiss FM. He became the youngest producer for the BBC so far. His radio shows and DJ sets are musical journeys unique in club-land. He blends tunes from all genres of underground music whether it be Broken Beat, Hip Hop, House, Garage, Jazz, Soul or Detroit Techno. www.benjib.com www.myspace.com/djbenjib
Beardyman From: Brighton, UK Style: Funk, A Capella, Experimental Facts: Beardyman is the first beatboxer in UK history to win the national championships twice in a row. In 2009 he won the award for Best Mc/Vocalist at the World renowned breakbeat awards ceremony Breakspoll. So much for the laurels. In his live shows no pre-recorded material is used and everything is created live in front of the audience. www.beardyman.co.uk | www.myspace.com/beardyman
JFB From: Brighton, UK Style: Drum’n’Bass, Hip Hop Scratched for: EvilNine,Tc Islam, Brockie, PressureDrop amongst many others. Label: BattleJam Facts: JFB first started mixing and scratching on a pirate radio in 1996 playing Drum’nBass. He moved on to play gigs and started his home music production. JFB holds the title UK DMC Champion 2007 and regularly joins Beardyman for Battlejam nights. www.myspace.com/jfbdj
Mr.Dero From: Graz, Austria Style: Hip Hop Latest release: “The Little Things EP” with Klumzy Tung Facts: DJ and producer Mr.Dero is part of tiefparterre. He started DJing in 1997. Lately, he has teamed up with Klumzy Tung and is part of Stevies Wonder Glasses. www.myspace.com/deromusic
Sneaky
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From: Manchester, UK; currently living in Berlin, Germany Style: Electro, Acoustic Debut solo album: “Feel Like A King… Pluck A String” (to be released in May 2009, Big Chill Rec.) Facts: Sneaky was classically trained from an early age. After many years of formal training on cello and double bass and the completion of a music degree at Manchester University, he became involved with forward thinking club nights Headfunk and Eardrum alongside a young drummer named James Ford (Simian Mobile Disco) and the resident DJs Mr Scruff, Andy Votel and Mark Rae. A session with fellow Mr Scruff in 1999 produced the by now dance floor classic “Get A Move On”. Sneaky is a member of the band Fingathing that rocked at springthree festival. Currently, Sneaky works on his own. He created a new genre, namely “Wood Hop”. Wood Hop is Jazz for the electronic, mashed up, sample savvy, beat driven generation. www.myspace.com/sneakytunes
DJ Marcelle From: Amsterdam, The Netherlands Quote: “I got no style – I’m strictly roots.” Facts: In the spirit of her mentor, the late BBC-legend John Peel, Dutch deejay Marcelle compiles and presents a weekly 3-hour internet radio show including the most exciting new underground, alternative and groundbreaking music. Marcelle van Hoof has been doing her radioshow for more than twenty years, as well as DJing live all over Europe. She plays an eclectic selection of Dubstep, weird electronics, Techno, Minimal, Drum’n’Bass, leftfield Hip Hop, World Music, Breakcore, Grime, heavy Dubs, Indie guitar etc. Marcelle has a huge appetite for new music, but also throws in some oldies for good measure. www.anothernicemess.com
DJ Zinc Status: Drum’n’Bass legend making House Music now Anthem: “Super Sharp Shooter” (1995) From: Hailing from London’s east end, Zinc first became involved in the dance music world via pirate radio. Back then, it was Jungle that caught his attention. His first solo tune, 1995’s Super Sharp Shooter, released on Ganja Records, stood head and shoulders apart from anything else that came out that year and remains one of the most recognizable dance records of the decade. It crossed over and for a short time, house kids, hip-hop heads and the whole of the Jungle massive were quite literally, sing-
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ing the same tune. In 1996 Zinc launched the True Playaz label, alongside Jungle veterans Pascal and DJ Hype. Zinc knocked up a speaker-busting bootleg of The Fugees “Ready Or Not” that supershot him across dance floors everywhere and became a Drum’n’Bass-anthem. In 2000 Zinc produced the genre defying “138 trek”. A year later he launched his own ‘Bingo Beats’ imprint, releasing breakbeat and Drum’n’Bass until 2007. He stopped taking bookings and releasing music throughout 2008 for a break. At springnine he will bring basslines from Dubstep and Jungle and infused rave influences into the Urban Nerds’ clubnight. www.djzinc.com | www.myspace.com/bingozinc
Benny Page From: UK Style: Drum’n’Bass Label: Digital Soundboy Facts: Having imprinted his name in the mind of the late John Peel with one of his first-ever releases back in 2004, producer Benny Page is now firmly established as the protégé of Drum’n’Bass legend Shy FX on his Digital Soundboy label. Page has already a string of dancefloor hits now behind him including the massive “Turn Down the Lights” and the anthem “Sneaker Pimp”. www.myspace.com/bennypage1
A1 Bassline
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From: London, UK Style: Erm.. Bassline anyone? Taken to a whole new level with mind-blowing FX to create A1 Bassline’s unique new sound that looks to Garage, Electro, House and so much more, manifesting in the rudest of bass heavy beats! Facts: A1 Bassline is fast moving away from being known as a young bedroom producer on the up, to becoming an all-round remix don and a force to be reckoned with. He’s reworked tracks for the likes of Wiley, Yo Majesty and Frank Music. He’s hot-tipped by both BBC Radio 1’s Annie Mac and Rob Da Bank. He’s graced the pages of magazines such as Dazed and Confused. He’s played raves across Europe, supported the likes of Kissy Sell Out and is quite frankly wiping the floor with his peers as his electric mixes and youthful jump-up-and-dance electronic beats and blips continue to astonish. The facts speak for themselves. Urban Nerds introduce A1 Bassline to springnine, a DJ they reckon is destined for stardom in double-ohnine! www.myspace.com/a1bassline
Tomb Crew From: London, UK Style: Electro meets Dubstep and shakes hands with b-more after a close encounter whilst raving to Old Skool Garage in a Jungle? Facts? Tomb Crew are the super-fresh, super-fly collective of party DJs and producers destroying the UK club circuit with fiery, take-no-prisoners sets! On top of their residencies at Bigger Than Barry in Birmingham and Donuts in Bristol, they run two successful nights of their own; My City Is For Pimps in Nottingham and Yo Mama! in East London. When they’re not promoting the crew find time to spin on Ministry of Sound Radio show bi-weekly alongside Dubstep don, Rusko. According to Drop The Lime ‘They are basically the Trouble & Bass doppelganger crew of the UK, mixing Grime with b-more, with Dubstep, with Electro House, Bassline and Old Skool Jungle!’ We couldn’t agree more! www.myspace.com/tombcrew
Daddy Nature From: London, UK Style: Keeping it dubwise with Reggae, Dubstep and a generous helping of the tastiest Soul and Funk around town. Seen. Facts: Daddy Nature is Urban Nerds’ undercover brother from another mother. A part of the Step:One collective that’s run side-by-side Urban Nerds from day one, Daddy Nature shares Step:One’s spiritual take on music and the need to produce an all-seeing, self motivated level of personal satisfaction which will in turn create a greater awareness of what is, and should be, the answer to the common goal, amongst all people, no matter of faith, creed, colour or conviction. That is, music is a mission, not a competition. Wise-up and rise-up to the sound of the Audio Revolution! Step:One www.myspace.com/audiorevolution1
Dusty Lungs
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From: London, UK Style: Representing Hip Hop from its early roots to the deeper, darker UK sound as well as dancehall and tip-top, eardrum busting Ragga Dub! Facts: Urban Nerds DJ Dusty Lungs is a true Hip Hop enthusiast. When he’s tearing-up the decks at Urban Nerds it really kicks off, with dancing on tables and all sorts of unspeakable party mayhem as ravers get their wind on to his limitless pick of bone-shaking dancehall dubs! On the production front, Dusty Lungs reps UK collective, Ghosttown – an offshoot of legendary UK Hip Hop massive, Foreign Beggars. They’ve been responsible for kitting out the likes of Jehst, Mystro, Dr. Syntax, Stig of the Dump, Dubbledge and Sir Smurf l’il with beats galore! www.myspace.com/dustylungs23
Drama From: London, UK Style: Strictly Dubstep through and through, Drama comes correct with the best of the best in the newest sound to rise from the underground! Facts: Drama Dubstepped his way into the Urban Nerds camp in the early days and has been pulling tight sets stuffed with bass weight out of the bag ever since! Formerly part of the Cast Iron Projects, ‘Drams’ as we like to call him can boast playing in venues such as Fabric, Ministry of Sound, Herbal, 93 Feet East and Scala, along with the rest of team Urban Nerds. He’s also dropped bombs on the airwaves on London underground stations such as Pyro Radio and Sub FM. Keep it Dubstep. www.myspace.com/djdramaspace
Mox From: London, UK Who? Director, architect, visual artist Facts: Mox is renowned for his work with Coldcut and the Ninja Tune Label and The Cinematic Orchestra among many others. Having worked with Detroit techno innovator Carl Craig at springseven, Mox is presently performing and developing an architectural audiovisual piece entitled „Conversations in Space“ with pianists Kelvin Scholar and Francesco Tristiano. Last year, he curated a „liquid installation“ at springeight: an audio-visual piece inspired by sound structures and the architecture of the BIX Façade of Kunsthaus Graz, the city`s contemporary art museum. www.myspace.com/moxv
Abendprozessor
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From: Vienna, Austria Facts: Abendprozessor’s visual aesthetics are very much oriented on photography. Each videoclip or photograph is „real“ – nothing is produced synthetically. As a result of concrete footage material the animation takes on the shape of an abstract and music-sync creation, reduced to the max. Following the DJ’s musical suspense by the VJ’s very fast reaction makes the visuals just as tight as an electrobeat. www.abendprozessor.com
mindconsole
mvd
From: Graz, Austria Who: Michael Hollinger and Markus Karlseder Style: half minimalistic and haptic, half stop motion and fashionate Facts: mindconsole are two young visual artists with the need of time and space to conceptualise and extend around the world. Resident VJs for the Austrian band 160 human bpm. http://mindconsole.net
From: Zürich, Switzerland MVD is on-site letting the music spontaneously dictate the scope and intensity of the visuals. MVD takes, searches, finds, reflects and then projects. Their live VJing is a permanent interaction with the DJ and/or musicians and the crowd. http://mvd.org
From: Graz, Austria Who? Johannes Paar, Julian Ausserhofer, Manuel Kostka and Philipp Rudler. Labels: strictly.beats, Bumm Bumm Facts: montage sauvage is an Austrian VJcollective. It was founded at springfive in Graz. Narrative elements and footage connect with 3D-objects and graphic animation. Square, skew and squashed: Anything can be combined with “wild cuts”. www.myspace.com/montagesauvage
Electrosacher From: Trieste, Italy Style: Minimal, Breakbeat Label: Ohm Records Facts: Electrosacher is a 4-DJ-collective with passion for unexpected rhythms, deep sub-bass lines and groovy drums – dancing bodies and (re)active minds be warned! www.myspace.com/electrosacher
b.fleischmann
From: Graz, Austria Who? Volker Sernetz, Stefan Sobotka Style: Super8-Slide-digital-visual art Facts: Based on super8 and 16mm movies from OchoReSotto, the virtual web of projection and performance variations have been continually expanding up to this very day. OchoReSotto combine the roaring sounds of up to 20 super8mm projectors, slides, digital experimental videos and live drawing and painting performances – for room installations, projections and performances. www.ochoresotto.com
From: Vienna, Austria Who? Bernhard Fleischmann Style: Electronica Recent release: “Angst is not a Weltanschauung” (2008, Morr Music) Label: Morr Music Facts: A laptop, sound loops, rhythm patterns. Songs, not just tracks, can be found on b.fleischmann’s solo albums since “Pop Loops” (1999). b.fleischmann formed Duo 505 with Herbert Weixelbaum and is a part of The Year, a country-esque chamber orchestra. He wrote the score to films like “Crash Test Dummies” by director Jörg Kalt. www.bfleischmann.com www.myspace.com/bfleischmann
Fruit Media
Clemens Neufeld
From: Graz, Austria Style: Outstanding graphic elements as well as intensive colour features Facts: Martin Reicht and Emanuel Droneberger developed a very individual and unique style for the visualization of electronic music. They create the visuals that make you dance. www.fruitmedia.at (under construction)
From: Graz, Austria What? DJ, producer and founder of Giant Wheel Records Status: Austrian House and Techno pioneer Essential album: “Bye, bye Berlin” Label: Giant Wheel Records www.myspace.com/clemensneufeld www.clemensneufeld.com
OchoReSotto
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montage sauvage
Simon/off
Stevies Wonder Glasses
From: Graz, Austria Who? Simon Hafner Style: Breakbeat, Techno, Dub Label: Winterstrand Facts: One third of Austrian band of brothers Winterstrand, Simon/off debuted solo in 2005. His current productions are getting DJ support from the likes of DJ Distance and Bunzer0. www.myspace.com/simonoff
From: Graz, Austria/London, UK Who? Miss Farina, Mr.Dero, Klumzy Tung, dr.pheel Style: Hip Hop, Funk, Soul, Freestyle, Drum’n’Bass Facts: Live improvisation musical collective that combines turntablism, live drums, breathtaking vocals and a love for freestyling. http://tiefparterre.net
Amtrak
Phil da Funk
From: Graz, Austria Crew: BASS OR DIE! Label: tiefparterre Facts: Being a DJ (back then BARK) since 1994 he hooked up with Widerstand-label artist Ab-hinc in ‘96 to create music. He is involved in the sideproject S.E., Sissi, Ghostfaders and Hannyazz. www.myspace.com/mantafucker http://tiefparterre.net
Who? DJ and producer from Graz, Austria Style: Dubstep, Funk New album: “Minimal Funk” (2009, Easymoods) Facts: PDF combines his roots in Hip Hop, Soul and Funk with electronic sounds. Heavy bass marks his productions, underlined with echo effects that clearly come from the Dub scene. www.myspace.com/phildaFunk83
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Korrelator
Crazy Sonic
From: Graz, Austria Style: Electro, Techno Label: On The Fruit Records Facts: Producers and DJs Christoph Zechner and Philipp Pacher do a lot of remixing such as their recent release “Jump up for the competition” by the German act The Sexinvaders. www.myspace.com/korrelator
From: Vienna, Austria Who? Rudolf Wrany Style: Techno, Electro, House Label: FLEX Schallplatten Facts: In 2001 Crazy Sonic founded the legendary Viennese club night “Crazy” taking place every Tuesday at the Flex. In 2006 he started his own radio show “Crazy Hour” on Play FM. www.myspace.com/crazysonja
Fiago
Patrick Kong
From: Graz, Austria Style: Electro, Rock, Disco House Debut album: “Sun, tits and a hammer” (2008, Onofono) Label: onofono Facts: Markus Jausovec, DJ and producer, and Max Tertinegg, songwriter, play Risco: a mixture of Rock and Disco, heavy on the beats with distinctive addiction to melody. Fiago works with a strong visual concept. http://fiago.net www.myspace.com/fiago
From: Vienna, Austria Style: Techno, Minimal, House Recent Release: “Flugverbot“ (EP incl. Tigerskin Rmx, 2009, Estrela) Label: Klanggut Rec., Soundlab Facts: Patrick Kong has a passion for the perfect harmonies in sound. Besides working on his own productions, he is a resident DJ at Vienna’s club Flex. www.myspace.com/patrickkong
Fauna
El Rakkas
From: Born in Teheran, Iran; living in Vienna, Austria Style: Techno, House 1st Release: “L’Amour De Loin” Label: FLEXSchallplatten www.myspace.com/faunaistok
From: Graz, Austria Who? ChristoFX and Raz Marty Style: Dubstep, Minimal Facts: Raz Marty has his roots in the Reggae scene while ChristoFX is influenced by Minimal Techno. In their productions and back-to-back DJ sets, El Rakkas blend Dubstep, Minimal, UK Garage and Dub into one piece of deep danceable music. www.myspace.com/elrakkas
Johannes Lehner From: Vienna, Austria Style: House Label: his very own Do Easy Records Facts: Johannes Lehner melts percussive sounds with playful Old School rhodes attacks in his DJ sets. He is a resident DJ at Vienna’s famous club Flex and launched his own label Do Easy Records in 2009. www.myspace.com/djelgonzo www.myspace.com/doeasyrecords
Eric Fischer From: Linz, Austria Style: House, Techno Label: Devoted Tunes Facts: Eric Fischer is a DJ, producer and promoter. In 2002, he founded his own record label called “Devoted Tunes”. His style ranges from Minimal House through Techhouse to soulygroovy Techno. www.myspace.com/djericfischer
Renoa From: Graz, Austria Labels: Brandnewvibe Recordings, Houztekk, Petrol Dollar Recordings Style: House, Electro Sounds: deep, techy, groovy Facts: The DJ and producer founded the DJcollective Soundsilo with Hadrian in 1998. www.myspace.com/renoa
Trashtray
Chris Chronic Who? DJ and producer from Graz, Austria Style: Hip Hop, Breaks Label: tiefparterre Facts: Chronic became part of the Bass or die!!! Crew and a resident DJ at their clubnights. www.myspace.com/cchronic http://tiefparterre.net
Raw Who? DJ, musician and graphic artist from Graz, Austria. Style: HipHop, Funk, Breaks, Boogaloo Label: Tiefparterre Facts:. Raw started producing and playing DJ gigs in 2002. Together with Chris Chronic, he founded DGS Records. He joined tiefparterre in 2006. Currently, Raw and Chris Chronic are working on their album, due to be released in 2010. www.myspace.com/dgsraw http://tiefparterre.net
der.papst Who? VJ from Vienna, Austria Style: Abstract, minimalistic and vector based Facts: Pater Noster, qui es in caelis, first started DJing 2004 but soon discovered live visual performances, sanctificétur nomen Tuum. der.papst mixes video clips with minimalistic styles. www.myspace.com/maffl
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Who? DJ from Graz, Austria Style: Hip Hop, Break Beat, Big Beat Label: tiefparterre www.myspace.com/djtrashtray
Nichtkunst
Clara Moto
Who? VJ from Vienna, Austria Facts: For his Visuals, Nichtkunst uses only self-produced material. Vectors are brought into being in order to form a symbiosis with the music. The move from picture to animation was the only logical conclusion for Nichtkunst. The material is now accurately formatted into 3-5 seconds lasting Loops. The intention of Nichtkunst’s work is to distribute happiness and cheerfulness among the world. www.myspace.com/nichtkunst
From: Graz, Austria Style: Minimal Techno Label: inFinè Facts: DJ, producer, promoter. Clara Moto tailors her tracks for DJs’ hands while maintaining the songwriting more often found in Electropop. Her second 3-track-EP “Silently” was released on inFinè last autumn. www.myspace.com/claramoto
Aeronautic Who? DJ from Graz, Austria Facts: His DJ sets include music from every corner of the Drum’n’Bass universe, always keeping it deep and soulful. www.myspace.com/the_aeronautic
John Electreelizer Who? DJ from: Mödling, Austria Style: Electronic, Techno Facts: Hard Beat’s nice guy, young and wild, modern sound! www.myspace.com/johnelectreelizer
Le Fin feat. Abillity
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What? 3 DJs, 3 Turntables, 2 Mixers From: Linz, Austria Style: Electro, Techno with Hip Hop influences Label: Con.trust / Sound Kitch’n Facts: Known as the DJs Lena and Fino, Le Fin DJ Team is cooking up a dance-mix in a tangy coat of break-crumbs, spiced with Electro and Techno. Abillity is DJ of the rap group “Hinterland” and part-time producer, but most of the time obsessed by making mixtapes. Presenting off-the-beaten-track Electronica as well as mainly local contemporary fashion labels and exhibits, Con.trust / Sound Kitch’n has become a platform and meeting point for musicians, visualists and all sorts of creative people. www.myspace.com/soundkitchn www.myspace.com/lenacontrust www.myspace.com/finoisthag www.myspace.com/djabillity
Hadrian Who? DJ and producer from Graz, Austria Style: House, Techno Label: Soundsilo www.myspace.com/hadriansoundsilo
mazze From: Bierbaum a.d. Safen, austria Style: Funky Breaks, Electrohouse, Drum’n’Bass Facts: Mazze always goes for a funky dance massacre using only sounds with a good funky guitar groove, fat brass arrangements, jingling “tschinellen”, banging percussion, howling hammond, bombastic orchestra or salted synthies – everything chopped with beat, pressure, breaks and bass from the second vinyl - mmh.
Inserat Springnine_RZ.indd 1
06.05.2009 11:53:45
springnine LOCATIONS <1 Kasematten/Schlossberg Am Schlossberg 8010 Graz www.kasematten.at
<14 springnine graz breakfast & warm up Continuum Sporgasse 29, 8010 Graz www.continuum.co.at
<8 DIESEL:U:MUSIC Lounge - Thalia Terrasse <15 springnine graz Opernring 5a, 8010 Graz Festivalzentrum www.eventcentergraz.at Kunsthaus Graz / Space 04 Lendkai 1, 8020 Graz <3 Heineken Music Club <9 SKA www.kunsthausgraz.at @ PPC GrabenstraĂ&#x;e 8, 8010 Graz Neubaugasse 6, 8010 Graz www.skaklub.at <16 springnine graz www.popculture.at Festivalrestaurant iKU <10 Stefaniensaal Lendkai 1, 8020 Graz <4 Postgarage Sparkassenplatz 1, 8010 Graz www.iku-graz.at Dreihackengasse 42, 8020 Graz www.grazercongress.at www.postgarage.at <17 springnine graz <11 Kunsthaus Graz Festival Hotel - Daniel <5 Orpheum Graz Lendkai 1, 8020 Graz Europaplatz 1, 8020 Graz Orpheumgasse 8, 8020 Graz www.kunsthausgraz.at www.hoteldaniel.com www.orpheumgraz.com <12 Skybar <6 Joanneum Schlossbergrestaurant absolutely spring Am Schlossberg, 8010 Graz Neutorgasse 45, 8010 Graz www.schlossberggraz.at www.museum-joanneum.at <13 Parkhouse Stadtpark 2, 8010 Graz www.parkhouse.at
page 160
<2 Electronic Beats Club @ Dom im Berg Schlossbergplatz, 8010 Graz www.domimberg.at
<7 DIESEL:U:MUSIC @ Opernpassage / Eventcenter Graz Opernring 5a, 8010 Graz www.eventcentergraz.at
page 161
ska_spring9_rz.indd 1
08.04.2009 4:03:20 Uhr
feel good. stay fresh. w w w. h o t e l d a n i e l . c o m
www.spark7.com
spark7 begrüßt den Frühling mit den günstigsten Tickets für das springnine-Festival.
Erhältlich in allen Filialen der Steiermärkischen Sparkasse!
f it!
part o e b : 7 k r a sp
spark7_springnine_120X196_3mmÜ.i1 1
21.04.2009 10:55:25
LISTEN TO
SPRINGFESTIVAL
RECORDINGS
NE
WEBSW OUT NOITE W! www. play.fm
> Upload your mix > Post your events > Listen to your favorite DJs
POSTGARAGE Dreihackengasse 42 â&#x20AC;˘ 8020 Graz www.postgarage.at
pg_springeight_rz.indd 1
10.04.2008 13:06:43 Uhr
Foto: Bigshot, Jungwirth
cabrio Bus-Sightseeing 2009
EntdEckEn SiE Graz
1. Mai bis 30. September 2009 Montag bis Freitag und Sonntag 11.00 Uhr, Abfahrt Kunsthaus PrEiS: Erwachsene/Kinder* Euro 15,â&#x20AC;&#x201C;/7,50 * bis zum 15. Geburtstag inforMationEn: Leopold SteinhĂśfler, T: +43 316 887-499 E: gvb.sonderverkehre@grazag.at www.gvb-sonderverkehre.at Vorverkaufstickets bei Graz Tourismus: Herrengasse 16, T: +43 316 80 75-0 E: info@graztourismus.at (Reservierung empfohlen!)
*) ausgenommen Bezahlung per Nachnahme / Ă&#x2013;sterreichweit.
Download the official compilation featuring:
Radio Slave, Joakim, Fennesz, Jazzanova, Peter Kruder, Ben Klock, Pinch, Clara Moto, Kollektiv Turmstrasse, Diskokaine and more. Enter this code and download one track for free!
0381 5672 0147 2747
1. Go to: zero-inch.com/hello/springnine 2. Enter the code and choose a track 3. Download and enjoy the music
ZERO-INCH.COM/HELLO/SPRINGNINE
Teufelskerl
_werbeagentur / www.maioo.at
Herausgeber: Zeiger, Verein für Kultur & Kommunikation, Körösistraße 17, 8010 Graz T.: +43(0)316 830862; F.: +43(0)316 830872; office@zeiger.com; www.zeiger.com; ZVR236417183 Redaktion: Daniela Andersen, Stefan Auer, Maria Motter Lektorat: Daniela Andersen, Adrian Millward-Sadler Konzept: Stefan Auer, Pietro Masser, Daniela Andersen springninegraz mainphotos: Croce & WIR, (www.croce.at) Additional photos: Heiko Tischler, Droidmedia, Robin Bharaj, Pere Masramon, Natalie Brunner, Mad Decent, Maria Ziegelboeck, Markus Roessle, Shane McCauley, Camille Henrot, Goran Potkonjak, Petteri Mero, Sacha Maric, Tom Groves, Toni Solis, Luxy, S. Marquardt, Michael Benabib, Photobooth, Liz Eve, Shaun Bloodworth, Michael Ostermann, Matt Edwards, Ben Page, Ro, Mads Perch, Oliver Jiszda, Josh M-G, Dustin Ross, Nil, Tom Oldham. u.a. © Zeiger 2009
s 1, 2, 3, 4, 5, 6, 7, 8, 9, ... 1ø 2 - 6 June 2ø1ø
THU 21.05
DOM IM BERG
PPC MAIN
FRI 22.05
PPC MAIN
JOHANNEUM STEFANIENSAAL
SAT 23.05
DOM IM BERG PPC MAIN
MR. OIZO LAURENT GARNIER LIVE JAPANESE POPSTARS LIVE YUKSEK DJ SET SHANTEL feat. BUCOVINA CLUB GOLDIE & MC LOWQUI MARCEL DETTMAN BEN KLOCK TOSCA LIVE KRUDER & DORFMEISTER KOLLEKTIV TURMSTRASSE GREGOR TRESHER
VODKA FROM THE LAND OF THE WOLF ERI_S9Festival_Booklet_vers1.indd 1
08.04.09 12:32
page 3
DOM IM BERG
www.eristoff.at Verantwortungsvoller Genuss ab 18 Jahren. www.verantwortungsvoll.at ERISTOFF ist eine eingetragene Marke und das Wolfszeichen ist eine Marke der Bacardi & Company Ltd.
WED 20.05
page 4
www.springfestival.at