This is my church

Kraftwerk stands for the ‘power station’ in German. And there are quite a few of them remaining in the centre of Berlin nowadays, including the overpraised Berghain. Its worship makes it for one of the strongest religious movements these days and it’s only a matter of time when the local authorities will start charging for the techno tax, in my humble opinion. But there is also an actual Kraftwerk in Mitte, used only for specific venues, such as The Long Now / Atonal or currently: CTM.

So while awaiting the Deep Web performance and Robert Henke’s concert, I decided to share the set of photos that comes from the 2015 edition of Berlin Atonal festival. During some five hot days in August last year, I was lucky to praise and dance to some amazing artists, such as Ugangan Methods (Ancient Methods + Regis), Shackleton, Alessandro Cortini, Kanding Ray, Varg, Shed, Samuel Kerridge, Lakker (who presented the amazing Tundra works), and many others. I remember the very powerful opening with the voices of the Chor der Kulturen der Welt in this mighty space, as well as the screening of ‘Industrial Soundtrack for the Urban Decay’ by Amélie Ravalec and Travis Collins. 

The light and sound installations set up in the basements and various labyrynths of Kraftwerk were also ery hypnotizing, almost sleepwalking ambience. So after all, I wonder why isn’t it a spot for regular events? I guess the overwhelming size of it, and the magical atmosphere of it just doesn’t match a regular Klubnacht. I think though that if Berghain is a parochial church, Kraftwerk is the cathedral, following the sacred metaphore.

So, see you at the black (laser?) mass on Sunday!

Special thanks goes to: Aldona Weicher, the author of the featuring photo and lately my favourite profile cover. You captured me, the place and the closing moment perfectly!

Berlin Radio

When I was a kid, I remember being haunted by a recurring nightmare that I am being exposed to a radio that can’t be turned off and forced to listen to very bad music and news 24/7. After years of autoanalysis, I obviously put the blame on my parents who made sure that I receive a proper music education from the early years: exposing me to piano and singing classes few times per week. So at the age of 8 or so, I composed my first VERY abstract ‘track’ on my synthesiser. Later I discovered it had something to do with Theo Parrish early experiments. And thus, I developed very low tolerance to bullshit and mainstream sounds.

Music has determined many of my life choices, including the places of residence and travel destinations. And as for my childhood nightmare, last year I discovered someone flipping it into a dream. Aybee, US-origin DJ, filmmaker and producer, currently based in Berlin, created a very interesting story of a journey of a radio throughout different neighbourhoods of the city. I was very happy to see that the radio was broadcasting very deep sounds that were simply ticking the right knobs of my brain. As well as that the people paid attention to it, contrary to the stereotype that Berlin is a cold city full of very indifferent people. But well, to be fair, this radio met people like Ari, Fred P or Levon Vincent on its way. It also passed my house a few times, no wonder why.

All of these DJs are regularly playing in various venues and combine that unique Detroit-Chicago-Berlin flavour. Be it techno, be it soul, be it house or whatever you call it (as I hate labels, I prefer – following my dear friend Enclave – using colours or temperatures to describe music), if I found this radio on the Michaelbruecke, I’d adopt it for life. Just check it out (Aybee is playing regularly in Panorama Bar or Tresor, too) and fall in love with Berlin once again.

Fluorescenses of the Dark December

November and December days equal for a very dark season in Berlin. You wake up in the night, then work, then it’s night again. People have different ideas how to counteract the winter sleep and the tiresome feeling, and for me resorting to the overwhelming culture and events in Berlin seems to play the trick.

This year I have absolutely fell in love with the neon lights and the overall psychodelic atmosphere of the colourful Christmas markets, especially the one based in a normally very lonely and grey corner of Jannowitzbruecke. What a change, and for some reason it was synchronised very well with the premiere of the new Gaspar Noe’s movie ‘Love’ in 3D, and even more with his memorable ‘Enter the Void’.

Similarly as last year, there were also a few memorable Boiler Rooms in town lately: starting from the 5th anniversary of the programme, through 29th Nov anniversary29th Nov anniversary to Bas Mooy, SNTS and Samuel Kerridge.

Last but not least, like always in December, I joined Feed Frequencies event in KW Institut of Art for a very special, pre-Christmas electronic Feierabend. Cosy matrresses, candles and clicks and snares made by Scott Monteith from Deadbeat and Prequel Tapes made it for a very special night.

https://www.youtube.com/watch?v=qVWdoUMcoP8&list=PLQJgpmKpMrrC7TT2Hokfv2bx6TeyDfj67

So there are various ways to close off the year, and after some very intense weeks at work and in Berlin in general, I leave for a long-awaited natural retreat miles away, in the middle of the Atlantic Ocean, on the remote islands of Cape Verde. Stay tuned for more news on Lusofonetica very soon next year. Frohe Weihnachten und einen guten Rutsch ins Neues Jahr!

 

 

Detroit B2B Berlin

Cold days = getting sick. Getting sick = managing to read all the pending stuff I wanted to. A Pulitzer-winning author, Charlie LeDuff was one of those on the waiting list on my shelf. Detroit-born writer and journalist stole my sick days with his reportage ‘Detroit: An American Autopsy’. Although I have never been to Detroit, it’s on my travel list since ages. I have also watched tones of the documentaries about this fascinating city, such as:

Also, my fascination with the remote and abandoned places, urban apocalipse and related started a while ago. Only in Berlin though I realised how many stories of the ‘wounded cities’ that once used to be flourishing with industrial jobs are hidden in the abandoned factories and warehouses. Berlin is a perfect place of offering such places a second life, often linked to great cultural venues, such as Stattbad (no longer existing though), Kraftwerk and Tresor anyway, Berghain, Urban Spree and many more which I still did not manage to describe here. There is still a full list of horrifying, dreadful and yet absolutely fascinating decay buildings for me to discover.

So not only postindustrial images, but also the emerging creativity links Detroit with Berlin. Obviously, both cities offer strikingly different vision on the social welfare, and supporting the cultural scene, but the fact is that techno music was born in parallel both in Detroit, and in Berlin. It emerged from the painful history, and events. And from extraordinary creative energy. Some interesting facts are gathered in the following documentary:

https://www.youtube.com/watch?v=gElNoedRj5Q

Nowadays there are many DJs from Detroit based in Berlin as permanent residents, and enriching the techno culture. Berlin wouldn’t offer the sounds we hear nowadays, if it wasn’t for Detroit. So, being relatively in a better shape, thanks to the economy based on the tech and creative industry, Berlin owes a lot to Detroit.

https://www.youtube.com/watch?v=uhHJO0FCyMg

Krake – it’s all about music, not names

I don’t go to festivals nowadays. Normally. I’ve been to ADE, Sonar, among other big ones and I enjoyed it a lot. Truth is that now I don’t have as much energy nor time to stay a couple of days partying 24/7. Also, within time they all got way more commercial, and as a consequence – super expensive. There are 3 local Berliner festivals though I can’t think of skipping: CTM, Krake and Atonal. Next week, the second one will take over the city (Friedrichshein, to be precise, or Urban Spree area):

I am looking forward to the amalgamate of art, sound and good ambience. One of my very promising dark techno sound evangelist & artist friends, Enclave, showed me last year’s edition from Suicide Circus and I was amazed. I really liked the anti-festival vybe, meaning that instead of pricey tickets and hype about first two or three big names listed, there will be a mix of more or less unknown, but ambitious rising hopes of the electronic music scene. Here’s a documentary showing bits and pieces of 2014 Krake edition together with the ideology behind the venue:

So: where, when, what? Next week, starting from Monday 3rd August till Sunday 9th, Urban Spree area (together with Kantine am Berghain and Suicide Circus) will be taken over by the art of techno. You can check the detailed programme here. I am so much looking forward to the Friday and Saturday nights, alongside with the art exhibition and 29th Nov films. There’s an ongoing discussion in Berlin about how the electronic scene could reinvent itself, and move away from the overtly mainstream trend, while coming back to its very own alternative roots. Not sure why, anytime I think about the dying scene, and techno being a superficial platform, I always feel like this humanoid from this brilliant videoclip.

The Long Now

Last night one hour was missing, as we switched to Summer Time. It would not be anything unusual, but it is worth mentioning that between 28th & 29th March, a very special, 29-hour event took place in Kraftwerk Berlin. This ‘literally powerful place’ in the Mitte was built alongside with the Wall that tore the city apart. It was a power plant supplying Eastern Germany with electricity. Abandoned after the democratic fall of the Berliner Mauer, this building was reinvented around 2006 as a setting of the new location of the Tresor club. It is also hosting the famous Berlin Atonal festival each year in the summer

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This weekend Kraftwerk hosted various artists for The Long Now event, a part of the MaerzMusik festival. The purpose of the Long Now was to create time and space bubble filled with the latest experimental sounds. One could walk in and out during 29 hours of the event, seeing the audiovisuals, film productions, concert and live sets. While I am writing this entry, the set of Actress is most likely to start off and will be followed up with an after party. If it wasn’t for me being tired and having heard him live in some other occassions, I would probably be there!

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The highlights of this event would definitely be: the 16-hours-long documentary from Burkhard von Harder together with his Live-Sound Performance, Kassem Mosse’s Chilling the Do (just when I was enjoying the coffee for breakfast) and Thomas Köner‘s Tiento de las Nieves. This artist, representing Denovali Records is especially close to my state of mind, with its cold, yet very melancholic sound. Thoughts about relativeness of time, presence in space and other dimensions of existence match these sounds perfectly.

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All in all, it was worth visiting at least for a while this amazing space filled with the unique music installation, just to feel that no moment of the shortest day in the year was missed.

https://www.youtube.com/watch?v=r7Q89vkvYYg

Photos: taken from the official facebook The Long Now, I wouldn’t take better ones.

Le Sacre du Printemps

Das Frühlingsopfer – this the German title of Igor Stavinsky’s ‘The Rite of Spring’, a masterpiece which pictures best by far the uncertainty and drama of the current season. Spring as a process within human minds and the slow rebirth of the nature can be painfully difficult. It is a struggle when sometimes there is no energy left to overcome the drastic changes. There are no better words and sound notes to illustrate this moment in my life, so I’d love to dedicate this post to my dear friend I suddenly lost few days ago in tragic circumstances.

Thinking about the loss as a process of life can be helpful till certain extend to accept its dark shades and harsh moments. I give myself time to think about the value of pain, grief and irreversible flow of time and space. I question the things I take for granted. I keep the moments I happily lived with him and think about the values he appreciated the most. In search for the answers and gathering the thoughts, I find it Stravinsky’s music especially close to the state of mind I am in. Not without sense, Le Sacre du Printemps is a musical journey through the idea of the sacrifice, the reinventing the seasons and yet, the usual process that takes place each and every year.

Knowing that my friend loved theatre, art and whole range of earthly pleasures and beauty so much, I would love to dedicate him Das Frühlingsopfer in this revolutionary Berliner Philharmoniker version directed by the living legend of the Kammermusik, Sir Simon Rattle. He didn’t make it to pay me a visit in my new city and I did not show him my favourite places that I promised him in my last e-mail. There is nothing else left now than appreciating the beauty of life while we are here and now in this amazing universe.

Smell the flowers while you can.

Bird is the word!

Just a quick note on the inventory that made my heart melt today: das Birdhain. Now my troubled mind can rest, as I know where will hyperactive Vögelchen go after party. Maybe for once, they will stop bothering me at unearthly hours of the day  (5-6 am?) when I normally try to sleep like an usual, full-time working person.

Melte Jansen – the author of the Birdhain, cared so much about the little bros’ comfort that the birdie replica of Berghain has a lot of room to offer, including the darker spots or the main floor with some awesome lightning. Not sure about the menu inside though.

It went viral today in Berlin and I am positive that in this utterly caring city, no one should be deprived of socializing- and party spots. Wait, but speaking of which… who will replace the infamous Sven in the birdie’s reality?

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A Dark History of Tresor

Sounds brought from Berlin has always inspired not only myself, but also klein aber fein electronic music groovement in my city of origin: Poznań. When I turned enough old to enter clubs in the early 2000s, my journey through the inspirational genres of house, techno and broken beats started and never really stopped, just the amount of time I put in the search for it, had to somehow decrease.

Back in a day the scene in Poznań seemed the most open-minded, at least comparing to other Polish cities. Shortly before the times of conservative backlash that obviously influenced the music scene too. I realized it is coming back to its interesting shape again nowadays, but all this would not happen if it wasn’t for the Tresor club and the influence of the capital city of techno nearby. And I am obviously not thinking about Warsaw.

So back when I was still considering my ‘career’ as a DJ, the natural consequence after getting to know where all the vinyl goodness had come from, was to step on the train and within 2,5 hours reach Kreuzberg to spend a couple of hours in the hottest vinyl stores at the time. Sometimes I was quite lucky to get a permission from my rather liberal parents to come back a few days later, so I could experience just a little bit of what now often is considered a history, like Tresor club, Maria am Ufer or Bar25.

This is where I discovered the sounds from another inspirational city: Detroit and fell in love forever with this crazy, dark deepness of the most organic of the electronic genres. Juan Atkins, Anonym Huisman, Jeff Mills, Theo Parrish and more recently: Fred P, Mike Huckaby are to be named as at least a few who shaped my taste for today. And the Detroit influence over Berlin deserves at least a separate entry!

So last Friday, 13th March 2015, Tresor celebrated its 24th birthday. The new location after re-visiting for a while now did not feel the same magic as the original one. Also, I am no longer such a reckless and restless clubbing aficionado. However, what should be said is that Tresor keeps on bringing deep and still interesting sounds to a wider audience in times when techno turns kind of mainstream and recognizable.

When writing about the history, it is also important to mention its impact on the current happenings. In my humble opinion, the dark and stark sound and vision of the technoworld can be represented by the 29th Nov movies channel with regular uploads of a very surprising content. I always discover the new artists while watching 29th Nov’s new productions. For instance, on a gloomy Sunday like today, these tracks can definitely reflect the bleak Berliner moods best Endlec – Darkness Approaches and Iñigo Kennedy – Plaintive.

Um:laut

Another interesting week has passed in the Augenblick, as would Germans poetically call ‘the moment’. As I am happy enough to live just between the most interesting spots of Friedrichshein, Mitte and Kreuzberg, I decided to visit the mysteriously-named Radialsystem V. This former water pumping station turned in 2006 to a ‘creative space for arts and ideas’.

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Yesterday I went to one of the Um:Laut sessions – dedicated to experimental music with the presence of British pianist Tom Hodge and producer Max Cooper. In the first part they both presented works from the ‘Piano Interrupted’ and ‘Fragmented Self’ EPs, and in the second part, Max Cooper debuted with his world premiere of the ‘Emergence’ visual performance. While the first part was full of experimental piano-electronic klang, the second part was a 90 minutes DJ & VJ set. Even though I’d probably cut out all of the dubstep-ish parts from the ‘Emergence’, I have to admit I was struck by the logic, story and musical vs. visual diversity. The logic of the visual was representing the chemical participles as a part of the universe, cities and human bodies, that eventually coexist and create one living mechanism.

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The radiant-looking Radialsystem V last night seemed to perfectly match its surroundings: Spree river, the moon and the first spring time night in the city. As far as I am concerned, Radialsystem V is famous for hosting multiple pieces of the renowned dancing company from Berlin: Sasha Waltz and Guests but also, various workshops dedicated to the contemporary dance and expression.

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