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Indian E-music – The right mix of Indian Vibes… » Articles


Electronic Artists Are Turning Politics Into Change On These Compilations For Charity

Delivered... By Zach Tippitt | Scene | Wed 18 Jul 2018 12:57 pm

The post Electronic Artists Are Turning Politics Into Change On These Compilations For Charity appeared first on Telekom Electronic Beats.

The Ultimate Guide To Every Berlin Club Worth Going To In 2018

Delivered... By EB Staff | Scene | Tue 17 Jul 2018 12:44 pm

The post The Ultimate Guide To Every Berlin Club Worth Going To In 2018 appeared first on Telekom Electronic Beats.

St. Petersburg’s 13 Best Clubs, Eateries And Off-Beat Cultural Hangouts

Delivered... By Present Perfect Festival | Scene | Fri 6 Jul 2018 3:02 pm

The post St. Petersburg’s 13 Best Clubs, Eateries And Off-Beat Cultural Hangouts appeared first on Telekom Electronic Beats.

Inside The Bikini Waxx Shop, Berlin’s Best-Kept Record-Digging Secret

Delivered... By Daniel Melfi. Photos by Yacoub Chakarji. | Scene | Mon 2 Jul 2018 8:55 am

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Check Out Photos From Our Techno-Fueled Telekom Electronic Beats Austria Launch Party In Eisenerz

Delivered... By Derek Opperman | Scene | Wed 27 Jun 2018 3:44 pm

It was an incredible scene: A small, rag-tag group of ravers dancing to techno in the pouring rain while Austria’s towering Ennstal Alps watched on like snowcapped sentries. The feeling in the air in that former mining town, called Eisenerz, was vaguely mystical, which was an appropriate mood as any considering the party we were at marked the start of Telekom Electronic Beats Austria and its accompanying Crowd & Rüben event series.

Crowd and Rueben Austria T-Mobile Techno Party

As we’ve told you over the course of the past few weeks, Crowd & Rüben is a new initiative that we’ve launched to help build and connect dance music scenes in remote rural areas with the broader European community. And, having now been to Eisenerz, the first destination, we can assure you that the town is indeed both remote and rural, but it also has potential. We were continually reminded of what our local contact, Erzbergbräu brew pub owner Reini Schenkermaier said: “Just because Eisenerz is small and isolated, doesn’t mean you can’t be connected to the world.”

Crowd and Rueben Austria T-Mobile Techno Party

Situated in a valley about an hour-and-a-half outside of Graz, Eisenerz is a quaint village that features stunning views of the surrounding mountains. We’ve heard techno played in some pretty incredible places, but this was one of the most unique we’ve experienced.

Crowd and Rueben Austria T-Mobile Techno Party

We weren’t alone, either. Matador, our headliner, shared our sentiments. “Normal environments—cities and towns and festivals—are what people are typically used to. Once you go outside, it brings out a different animal in everybody,” he said. Later, when he played a remix of Jay-Dee’s break house classic, “Plastic Dreams”, we could feel a different side of our selves coming out too.

For more information about forthcoming Crowd & Rüben events around Austria, check out the German-language Telekom Electronic Beats Austria page. Or stay tuned to this space—we’ll also announce them as they get closer.

The post Check Out Photos From Our Techno-Fueled Telekom Electronic Beats Austria Launch Party In Eisenerz appeared first on Telekom Electronic Beats.

7 Reasons Why Everyone Should Party Outside During The Day At Least Once

Delivered... By Sophie Harkins. Images by Inka Gebert. | Scene | Wed 27 Jun 2018 2:43 pm

If you’ve been following our party schedule lately, you know that we have quite a few open airs planned for this summer. Our recent techno party at Landschaftspark Duisburg-Nord was mindbendingly fun, and we have similar al fresco raves coming up in the form of our Click Clack Open Air in Dresden and our party with Baka Gaijin at Essen’s mammoth Zeche Zollverein, an abandoned coal refinery complex that’s now a UNESCO world heritage site.

We like partying outside. We like partying outside during the day. We think you should probably try it if you haven’t. Here are a few reasons why it’s better to bask in the sun while dancing to your favorite tunes.

1. You won’t smell like an ashtray

This one is a little Berlin-specific. But for those of you that have clubbed here, have you ever gone out with a nice outfit only to find that, afterwards, it smells like an ashtray? People smoke in clubs here, and if you don’t have the money to fork out for dry cleaning, it’s a great way to ruin your best clothes. Partying outside lets you avoid the smokers—all that fresh air will take care of the smell.

2. You can get your source of vitamin D

Partying inside a factory or dark club for 48 hours all but ensures you won’t meet your recommended daily vitamin D intake. But imagine being able to party while soaking up some rays. Also, you won’t have to feel that terrible moment when the sun reminds you that you’ve been partying in a dark techno club for two days on end. Get some sun onto your skin and feel revitalized!

3. You can take a break without leaving the party

Everyone can relate to this. After dancing your heart out to pounding kicks and being surrounded by sweaty bodies for multiple hours straight, you know it’s time for a break! You want to go outside and take a breather. But that usually means saying goodbye to the club and having to re-enter afterwards, which everyone knows can be a real hassle. If you were outside, you could walk for a little bit, bask in the silence and let your ears have a nice chill-out session with the birds and breeze.

4. You won’t ruin your sleep cycle

We’ve all been here: You want to see your favorite DJ, but they’re playing an all-night party at 5 or 6 AM. If you go, you’ll enjoy yourself, but you’ll also feel like a zombie for a few days afterwards. If you party during the day, you can maintain your normal circadian rhythm—and that’s a good thing for your weekly sleep cycle.

5. You can chill out with a group of friends

Although this goes against our previous article on clubbing alone, we think it’s safe to say that you can reach a point where you want to be able to listen to good music and also hang out with your friends. You can do that inside, sure, but when you’re outside there’s plenty of space to hang out, talk and hear each other. It’s the best of both worlds!

6. You can dance on a grass dance floor

Sometimes standing on that hard concrete can get quite uncomfortable. Isn’t it so nice to be able to connect with nature? Wouldn’t it be great to be able to stand on some grass for a change? Plus, when you feel like taking a break, you can have a nice lie-down on the grass!

7.You can wear sunglasses and not look like a douchebag

Everyone knows that wearing sunglasses looks cool. But you know what doesn’t look cool? Wearing sunglasses inside. If you do this, you look like a douchebag. Doing that will never be cool. Outside though…that’s a whole other story. If you party at a daytime open air, you can wear sunglasses for as long as you want, and nobody will think otherwise (well, until the sun goes down at least).

Read more: 7 reasons why everyone should go to a techno club alone at least once

The post 7 Reasons Why Everyone Should Party Outside During The Day At Least Once appeared first on Telekom Electronic Beats.

10 Films About Dance Music Culture That We Actually Like

Delivered... By Daniel Melfi | Scene | Mon 25 Jun 2018 11:28 am

Dance music fans have been telling their parents that “they’ll never understand” for the better part of three decades. Despite that, the culture has been booming since the late ’80s.

Filmmakers have been keen to interpret the fascinating factions of this neon-wearing, pill-eating, rave-dancing society. Some of these films focus on the music and the scene, while others derive tension from chemical excess.

And we can’t forget about the often inexplicable, emotional encounters on and off the dance floor, whether the focus be on dealing with deafness, chemical overload or trying to get the cops out of the warehouse. This list has you covered for at least a whole weekend in. Don’t forget some snacks to bring with you on this long and winding journey.

Eden (2014)

Unlike some of its partners in this category, Eden actually understands the melancholic afterglow of a life in club culture. But French writer and director Mia Hansen-Løve had some help. Her brother Sven co-wrote the screenplay and was the inspiration for protagonist Paul Vallée (Félix de Givry). The Parisian DJ actually grew up alongside other famous French Touch pioneers, like Daft Punk. That duo even agreed to license some of their biggest tracks for the film at a fraction of the cost. Chronicling the rise and eventual fall of a local DJ, the French film can become painfully relatable. With a killer soundtrack and characters that could substitute as some of our friends, Eden is a classic.

24 Hour Party People (2002)

This melange of fact and fiction is one of club culture’s most stimulating films. Depicting the crest and fall of late 1970s to early 1990s Manchester, 24 Hour Party People is a tale of gargantuan passion and a love of leisure. Whether for the historically accurate context, or the insanely fun soundtrack—think UK Baggy highlights—it’s definitely one of the best films to watch before your weekend out. Released in 2002, it features a livewire performance by Steve Coogan as the late TV personality and Factory Records label founder Tony Wilson. From Joy Division to the Haçienda and the Happy Mondays, the film provides a fun and in-depth survey of the crazy “Madchester” scene.

Groove (2000)

This club culture portrait is a classic interpretation of the San Francisco warehouse scene. Greg Harrison’s ode to ecstasy and discovering your true self at the rave was released in 2000. It’s gone on to become a legendary piece of the club culture cannon. The film features cameos by John Digweed and tracks by Orbital and Symbiosis. Groove isn’t concerned with eloquence, but it doesn’t take too many liberties in the joy—and occasional terror—of the implicit connection between the drug and underground music scenes.

Human Traffic (1999)

Human Traffic is perhaps Danny Dyer’s finest contribution to modern cinema. Released in 1999, it’s arguably the British actor’s most acclaimed work. The journey of him and his mates getting out of their heads in Cardiff is one of film’s finest odes to all those who found themselves with more disco biscuits than they could—and should—eat. According to The Guardian, director Justin Kerrigan insisted that in order to be cast, actors must have had at least one encounter with the tasteless, magic vitamins. It’s that kind of dedication to authenticity—and tracks by Matthew Herbert—that resulted in this masterpiece.

Berlin Calling (2008)

This 2008 comedy by Hannes Stöhr is a cornucopia of ridiculousness. The soundtrack is easy listening, with melodic techno contributions from Paul (who plays the main character DJ Ickarus) and Fritz Kalkbrenner as well as Sascha Funke. But the rest is either commentary on Berlin’s liberal attitude towards self-medication, or an ode to the never-ending after party. The film is a clear nod to Ken Kesey’s legendary novel—later made into an Oscar-winning film—One Flew Over the Cuckoo’s Nest. But, it remains a hilarious take on what would’ve happened if R.P. McMurphy had lived in Berlin in the noughties.

Irvine Welsh’s Ecstasy (2011)

Irvine Welsh’s Ecstasy is a film based on the story The Undefeated by the Scottish novelist Irvine Welsh. He’s also the genius behind Trainspotting. That should tell you enough about his unique, ultra-detailed and often accurate portrayal of drug and party culture. Not unlike other projects based off of Welsh productions, this one involves lots of drugs and a plan to sell them, quickly, for a lot of cash. Directed by Rob Heydon, it features a drug-smuggling romantic who is hoping that a Canadian woman can help turn his life, and heist, around.

Party Monster (2003)

In 2003, Fenton Bailey and Randy Barbato approached this club culture biopic from a new angle. Unfortunately, it’s not just the energy that can spill over beyond the dance floor. The story of Party Monster is adapted from James St. James’ 1999 memoir Disco Bloodbath. Focusing on NYC club kid promoter Michael Alig, the film is, at the least, a strange trip down a chemical highway, and at the most, an advertisement for rampant drug use. With a cast that includes Macaulay Culkin and Seth Green, it may be short on timeless cinematic quality, but not in dark and twisted humor. It also reminds us that sometimes, it’s OK to stay in.

Naar de Klote (1996)

This tragic love story is rooted in ecstasy. Released in the Netherlands in 1996, Aryan Kaganof’s Naar de Klote (Wasted!) is a primordial tale of tasting forbidden fruit. Revolving around the Dutch gabber explosion of the 1990s (which inspired the Polish gabber explosion of the 2010s), it chronicles Jacqui and Martijn’s move from the small town of Tilburg to the sensory assault of Amsterdam. As Jacqui gets sucked into the ugly drug dealing underbelly of the clubbing industry, Martijn struggles to remain faithful to his girlfriend while drowning his sorrows in big spliffs and lots of Heineken. Filmed in a grainy and unfocused style, it seems more like a bad ecstasy trip than a celebration of life. Hold on, because this one moves fast—and it gets ugly.

One Perfect Day (2004)

One Perfect Day is a welcome reminder that it’s not all sunshine and rainbows in club culture. Tommy Matisse, a Melbourne music student who is studying in London, receives notice of his sister Emma’s death. After learning of her interest in electronic music—and the drugs that contributed to her downfall—Matisse decides to explore club culture himself. Rife with melancholy, he navigates a world of infinite joy and horrible sadness. Fatboy Slim, Radioslave and Blur make the soundtrack for Paul Currie’s 2004 project more enjoyable and a little less sad.

It’s All Gone Pete Tong (2004)

This film definitely rivals Berlin Calling for the silliest in the dance music cannon. It’s the hilarious tragicomedy of British DJ Frankie Wilde’s mythical existence and his battle with deafness. With cameos by the biggest DJs in the game—from Carl Cox, to Paul Van Dyk—it’s also a clear-cut Ibiza promo. Shooting took place entirely on the White Island (where we were recently) in venues like Pacha, Amnesia, DC10 and Privilege. Wilde, played by Paul Kaye, tours around the island as his hearing decays, all to the tune of classics like “Pacific State”—and maybe a bit too much trance.

Read more: Watch a trailer for a new film about Berlin

The post 10 Films About Dance Music Culture That We Actually Like appeared first on Telekom Electronic Beats.

Vladimir Ivkovic Selects His Favorite ’90s Trance Tracks That Sound Better Slow

Delivered... By Vladimir Ivkovic | Scene | Wed 20 Jun 2018 1:54 pm

The post Vladimir Ivkovic Selects His Favorite ’90s Trance Tracks That Sound Better Slow appeared first on Telekom Electronic Beats.

We Went To Remedy State, A New Wellness Retreat In Ibiza For The Dance Music Industry

Delivered... By Annabel Ross. Photos by Elizabeth Claire Herring. | Scene | Mon 18 Jun 2018 2:20 pm

The post We Went To Remedy State, A New Wellness Retreat In Ibiza For The Dance Music Industry appeared first on Telekom Electronic Beats.

The Third Room’s Ahmet Sisman On Hybridity, Raves In Refineries And The Scene In Essen

Delivered... Interview by Derek Opperman | Scene | Thu 14 Jun 2018 10:54 am

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Blawan On Impatience, Anxiety And How He Makes No-Frills Techno

Delivered... Interview by Sven Von Thülen | Scene | Wed 13 Jun 2018 12:41 pm

The post Blawan On Impatience, Anxiety And How He Makes No-Frills Techno appeared first on Telekom Electronic Beats.

Photographer George Nebieridze’s Pictographic Guide To Berlin’s Techno Underground

Delivered... By George Nebieridze | Scene | Wed 6 Jun 2018 10:02 am

The post Photographer George Nebieridze’s Pictographic Guide To Berlin’s Techno Underground appeared first on Telekom Electronic Beats.

Born In Flamez’s 10-Track Guide To The Golden Age Of UK Grime

Delivered... By Born In Flamez | Scene | Mon 4 Jun 2018 2:01 pm

Grime is having something of a moment right now. It first came across our radar when we heard DJ Stingray and Mumdance’s incredible Rinse FM b2b mix, which paired the Motor City electro of the former with the avant-garde instrumental grime of the latter. The pairing worked so well that we found ourselves wanting to dive into the history of the genre to understand more. The only thing is that the genre is so large that we didn’t really know where to start.

Fortunately, Berlin-based transhumanist artist, CTM Festival curator and occasional Telekom Electronic contributor Born in Flamez is something of a specialist. They reached out to us to provide us with 10 essential tracks from before 2005. That period in the early oughts marks the very beginning of grime’s development. 

[Read more: London-based producer Slackk’s guide to the new wave of grime]

“I think I heard my first grime tracks in the summer of 2004. A buddy brought some really shitty MP3s burnt onto a CD from a trip to London. It was mostly Ruff Squad and some Nasty Crew and a lot of Wiley.

I was hooked immediately. I believe Grime was my first big musical crush. I had found my sound. I started digging really heavily and found some of these treasures only years after they had been released. So here are my favorites from the early years of grime.”

Musical Mob, “Pulse X” (Musical Mob Royale, 2002)

“This to me is THE classical grime track. I love that minimal structure, and the badass sound of the production is pure gold.”

Lady Sovereign, “Cha Ching (Cheque 1 2)” (Casual Records, 2004)

“I think the first track of Lady Sovereign I had heard was actually something called ‘Tango’, a battle song she had created with producer Medasyn. She wasn’t even 16 yet but spat double time like no one else. ‘Cha Ching became an early fave—that dope snare and that badass bass paired with her feminist humor.”

Dizzee Rascal, Boy In Da Corner (XL Recordings, 2003)

“Still a mindblowingly fresh example of minimal production—Youngsta really outdid himself here. I bought the double vinyl of this record only recently cause it felt like one of the very few things I needed to have on PVC.”

Wiley, “Eskimo” (Wiley Kat Records, 2002)

“‘Eskimo’ is the definitive grime riddim. It was one of the standout tracks on the first grime MP3 collection I owned. Based around that hollow bass sound that would become Wiley’s trademark and, like ‘Pulse X’, inform tons of later producers, it blew the door open for grime production to be whatever it wanted, while also creating its own micro-genre.”

Lethal Bizzle, “Pow! (Forward)” (Relentless Records, 2004)

“OMG POW! I believe this was grime’s biggest hit at the time—maybe of all time. Way before Skepta won a mercury. It charted at #11, and did so with absolutely zero compromise: there’s no pop hook, just Lethal B shouting ‘pow,’ and all the his buddies—some of the best MCs of that time—featuring on 8 bars each.”

Wiley, “Wot Do You Call It?” (XL Recordings, 2004)

“’Wot Do You Call It?’ was maybe Grime’s earliest hymn. There wasn’t a name for the genre yet. So before grime became grime, it had many names. Wiley tried to establish Eskibeat which later became his own personal grime sub-genre.”

Shystie, “I Luv You (Dizzee Rascal Reply” (Network Music, 2003)

“Shystie murdering Dizzee Rascal’s lyrics, and the beat is pure gold.”

Jammer, “Murkle Man” (Jahmektheworld, 2005)

“Jammer’s hoarse voice and flow are the punk of grime. He’s the most unnoticed member of [grime collective/record label] BBK but my absolute favorite. Even though JME gets points for being vegan and his ‘Poomplex might actually be my number two all-time favorite grime track, Jammer is my favorite BBK.”

Ruff Sqwad, “Pied Piper (Skepta Remix)” (Ruff Sqwad, 2004)

“Ruff Sqwad gets all the points for being there first. ‘Pied Piper’ was one of the first grime tracks I ever heard. Skepta’s remix makes it more garage-y and shows off the scale of his production skills in 2004 already.”

No Lay, “Unorthodox Daughter” (2006)

“This would be on the top of my list if it was actually from 2003 or 2004. But as it’s a bit of cheating to add a track from 2006 to this list, I’m putting it at the end. I think I first heard the Kingdom remix of this song. Listening to the original now, I have to say this might be my all-time favorite grime track.”

Read more: Hear HDMirror’s futuristic hardcore set from CTM festival’s gabber party

The post Born In Flamez’s 10-Track Guide To The Golden Age Of UK Grime appeared first on Telekom Electronic Beats.

How Dortmund’s Oma Doris Club Is Keeping The City’s Underground House Scene Moving

Delivered... By Daniel Melfi | Scene | Fri 1 Jun 2018 11:31 am

The post How Dortmund’s Oma Doris Club Is Keeping The City’s Underground House Scene Moving appeared first on Telekom Electronic Beats.

15 Leftfield House And Disco Anthems From Berlin’s Sadly Closed Soju Bar Club

Delivered... By Finn Johannsen and Hyun Wanner | Scene | Thu 31 May 2018 11:03 am

In the early to mid-oughts, minimal techno and tech house ruled most of Berlin’s dance floors. But alongside this more mainstream music movement, there was a parallel scene dedicated to playing records that were not played elsewhere. Seasoned house and disco DJ legends were invited, and gradually strong local and international networks began to plant roots and grow a culture dedicated to digging for more obscure and leftfield sounds. Styles like vintage house, Italo, post-punk, Afrobeat, Balearic, yacht rock and even more specialized musical niches began to dominate these scenes.

The daring eclecticism of this community created an openness that later would go on to inspire many of the tracks that are being played in clubs and festivals today. Call Super and Hunee (pictured above) both came out of this world.

And from 2010 to 2013, a club called Soju Bar was Berlin’s hotspot for this special corner of night life. It was located in the backroom of the Korean street food bistro Angry Chicken—itself an extension of the popular Kimchi Princess restaurant around the corner. The club’s sound system was above average, and the room was decorated with loving attention to detail and an impressive replica of Korean bar culture that made the room appear larger than it actually was.

Hyun Wanner, one of the Kimchi Princess owners—who also happened to be on par with his DJs in terms of his enthusiasm for music—booked Soju Bar’s tasteful program until the club’s close. Like many small businesses in Berlin, it was forced to close and eventually became a part of a hotel in the same building. We asked Wanner to revisit some of Soju Bar’s most dedicated resident and regular guest DJs and pick the music that he associated with their nights.

Hunee: Shina Williams & His African Percussionists, “Agboju Logun” (Earthworks, 1984)

“This record turned into a huge Soju Bar hit. It was just the time when more and more DJs started to flavor their sets with African influences. I think it’s a trademark element of Hunee’s sound these days. Another regular Soju Bar DJ called Nomad, now of Africaine 808, went completely down that road. I love this record. I bought it years before Soju Bar, because my favorite Discogs dealer recommended it to me and offered me free shipping if I bought it. I was very pleased when Hunee played it the first time. I think he still plays it today.”

Lovefingers/Lexx: Carrie Cleveland, “Love Will Set You Free” (Cleve/Den, 1980)

“My girlfriend at the time was obsessed with this song. She knew that it was on Lovefingers’ blog and made him play it at least three times. I remember Andrew playing it two times in a row early in the morning and dancing on the floor with his eyes closed. Lexx had to do the same a couple of weeks later. This was one of these classic early morning magic moments. Sometimes there were only 15 people left in the place, but they had the time of their lives!”

Joel Martin (Quiet Village, Velvet Season & The Hearts of Gold): House Of House, “Rushing To Paradise (Walkin’ These Streets)” (Whatever We Want Records, 2009)

“When Soju Bar started, everything was really disco and balearic. Then, most DJs started to pick up housier vibes again. It was almost a bit like going through the history of dance music in one and a half years, and a few subsequent decades. This record contains all this history. It was first Soju Bar resident, DJ Filippo Moscatello, who introduced me to this record. I have funny memories of this track. For example, it was an incredibly hot night, and it was really empty, but a few people were dancing for hours and didn’t want to leave. Joel was the only DJ, and he’d already played six hours for the same 15 people.

When he was playing this track, a random, very young girl with a record bag came up and wanted to take over. She promised us to play the same kind of music: house! We were like, “Okay!” Well, she had her very own definition of house music, I reckon! Two records later, Joel and me were in a taxi home. She went on for a few more hours, and I have never seen her again.”

I will change. I promise.: Ideal, “Schöne Frau Mit Geld (Losoul Remix)” (Live At Robert Johnson, 2010)

“This was definitely the resident with the best name. I was promising this to myself pretty much every Monday morning! This party was hosted by our friend Alex van der Maarten and was musically on a slightly different trip, but it was always very successful and always busy. It had guest DJs like Nu and Lee Jones. This was one one of its signature tracks.”

JR Seaton (Call Super): Bunny Mack, “Let Me Love You” (Rokel, 1979)

Call Super—or JR Seaton, as he still called himself back then—played at Soju Bar many times. I think the first time he was invited by Headman, who did a monthly Relish Night at Soju Bar. Call Super finished the night together with Objekt, and they both blew my mind. They were playing very obscure electronic stuff and then broke it up with songs like this. 100 % early morning magic. Nobody cared which genre, which time or which part of the world the music was from. Everything melted into one amazing vibe.”

Druffalo Hit Squad: Nicolette, “Lotta Love” (Warner Bros., 1978)

“This was a huge Soju Bar anthem! The Druffalo Hit Squad‘s party Love Fools was the night where anything was possible. From pop to shock to classics—and not classics! Sometimes very ironic, sometimes iconic! Sometimes hard to follow, and sometimes pure magic. At the end of their nights there was a lot of love in the air indeed.”

Baby G: Jeremy Glenn, “Driving At Night” (We Play House, 2011)

Baby G is the most crazy Catalonian girl I’ve ever met. Great DJ. I really liked her mid-tempo contemporary house vibes. This was her stand-out track for me, even though she never played a bad record. I loved the whole crew around her, particularly Paramida and Katovl who later helped me with booking Soju Bar in its final year.”

Emil Doesn’t Drive: Sheryl Lee Ralph, “In The Evening” (The New York Music Company, 1984)

“Emil always was one of my favorite DJs. He was a real music lover and enthusiast. Every Emil Doesn’t Drive set was a trip. This was his classic peak-time record after a long build-up with weird cosmic and Italo stuff. I’m very happy to see this record has a huge renaissance now. Harvey even played it at Panorama Bar a few weeks back! Fantastic lyrics by the way, even though I only understood part of it when I heard it for the first time. But that was all the information I needed.”

JG Wilkes (Optimo): Todd Terje, “Inspector Norse” (Smalltown Supersound, 2012)

“Over dinner, Jonnie (JG Wilkes of Scottish DJ duo Optimo) asked me if I had heard the brand new Todd Terje record yet. He played it later that night. People freaked out, and a few weeks later it turned into one of the biggest dance records of that year. I guess Soju Bar was the perfect place for all the DJs who usually played to much bigger crowds to test new records. I could write a book about the weekends when Jonnie was in town, but I better keep it private!”

Daniel Wang: Donna McGhee, “Make It Last Forever” (Red Greg Records, 1978)

“I have to admit—I have no idea if Danny actually ever played this record on one of these incredible Wednesday nights when he was hosting his party Nightflight. It could have been one of his always-amazing guests, like Prosumer, Discodromo or Darshan Jesrani. But for me, it describes the vibe of these nights in a perfect way. All that passion, all that desire, all these smiling faces. I wish we could have made it last forever!”

Nathan Gregory Wilkins (Cowboy Rhythmbox): Cos Ber Zam, “Ne Noya (Daphni Mix)” (Jiaolong, 2011)

“Nathan plays an incredible range of music. I love having chats about music with him, because he doesn’t consider himself to be a digger. He doesn’t care where the music comes from as long as it’s good. And he’s the only reason why I’m still on Facebook. He’s the funniest person on the whole platform.”

Alex from Voices & Johnny Chingas: Henry Mancini And His Concert Orchestra, “African Symphony” (RCA Victor, 1975)

“This track is early morning magic taken to a new level! Those two always had a few amazing records in their bags and a lot of stories about the old acid house and DJ Harvey days. We became really good friends. Christian Pannenborg introduced us. He was hosting the Institute of Harmless Thinking party together with JM Moser, and they had great guests like Young Marco or Piers Harrison of Soft Rocks. Christian runs the Record Loft now.”

Hugo Capablanca: It’s A Fine Line, “Woman (A Makhnovshchina Repossession)” (History Clock, 2008)

“This is a great edit. Hugo played this when he was warming up for Nathan Gregory Wilkins on whose History Clock label it was released. It was the era of edits, everybody was releasing them. Not every edit was as good as this one, though. Sometimes I didn’t understand why some people had the arrogance to touch a classic and think they could turn it into something better.

I don’t know if edits made anything better, to be honest. I think the only justification for an edit is when the result is something completely new. The best Party with Hugo was the first anniversary of Soju Bar when he, Pavel Plastik and Baris K played together for the first time. Amazing set by the three of them. It sounded like they’d already been playing together for ages!”

Kalabrese: Hot Chocolate, “Every 1’s A Winner” (RAK, 1978)

Kalabrese was invited by Konstantin and Manu, who hosted the party Only A Fool Would Play. It had guests like DJ Supermarkt or Thomas Bullock. That night was all about soft rock, yacht rock and all sorts of cool mid-tempo and sometimes cheesy stuff. Anything was possible. He more or less came straight from a gig at Berghain to play at Soju Bar. This was his first record and he absolutely killed it. He also wasn’t afraid to play a few more hits like that.”

Soft Rocks: Idjut Boys, “One For Kenny (Extended LP Version)” (Smalltown Supersound, 2012)

“This was one of the few nights that was recorded. There is this amazing Soft Rocks live at Soju Bar mix on Soundcloud that shows the great quality of music that happened there. I wish we would have recorded more. That would have been quite some archive.”

 

The post 15 Leftfield House And Disco Anthems From Berlin’s Sadly Closed Soju Bar Club appeared first on Telekom Electronic Beats.

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