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

8 Tracks That Defined The Soviet Era’s Industrial Scene

Delivered... By Andrew Lee and Jenya Gorbunov | Scene | Wed 23 May 2018 10:53 am

The post 8 Tracks That Defined The Soviet Era’s Industrial Scene appeared first on Telekom Electronic Beats.

This Is What A Night At ://About Blank’s Wild And Colorful Buttons Party Is Like

Delivered... By Nathaniel Marcus. Photos by Spyros Rennt. | Scene | Fri 18 May 2018 12:02 pm

The post This Is What A Night At ://About Blank’s Wild And Colorful Buttons Party Is Like appeared first on Telekom Electronic Beats.

This Is Riotvan, The Homegrown Label Bringing Leipzig’s House Sound To The World

Delivered... By EB Team. Photos by Yacoub Chakarji. | Scene | Wed 16 May 2018 10:47 am

The post This Is Riotvan, The Homegrown Label Bringing Leipzig’s House Sound To The World appeared first on Telekom Electronic Beats.

This Is Czeluść, The Post-Witch House Collective Bringing Next Level Bass To Poland

Delivered... By Dave Jenkins | Scene | Mon 30 Apr 2018 3:12 pm

The post This Is Czeluść, The Post-Witch House Collective Bringing Next Level Bass To Poland appeared first on Telekom Electronic Beats.

Berlin’s ISM Hexadome Is What Immersive Audiovisual Art Has Been Missing

Delivered... By Daniel Melfi | Scene | Fri 27 Apr 2018 4:07 pm

The post Berlin’s ISM Hexadome Is What Immersive Audiovisual Art Has Been Missing appeared first on Telekom Electronic Beats.

10 Tracks That Defined Ostgut, The Legendary Berlin Club That Became Berghain

Delivered... By André Galluzi | Scene | Mon 23 Apr 2018 2:00 pm

The post 10 Tracks That Defined Ostgut, The Legendary Berlin Club That Became Berghain appeared first on Telekom Electronic Beats.

10 Things You Need To Know About Nightmares On Wax

Delivered... By Daniel Melfi | Scene | Tue 10 Apr 2018 11:35 am

The post 10 Things You Need To Know About Nightmares On Wax appeared first on Telekom Electronic Beats.

Munich’s Techno Scene Is On The Rise—Locals Glaskin And La Staab Explain Why

Delivered... Interview moderated by Daniel Melfi | Scene | Thu 29 Mar 2018 3:55 pm

It’s undeniable that Europe’s largest metropolises steal the attention away from their smaller counterparts. In Munich’s case, the city navigates between its role as Germany’s economic ambassador and its personal thirst for culture. As a costly city, Munich has been working hard to carve out its own creative niche. In a small—but growing—scene, producers and DJs like Glaskin (a.k.a. Ferdinand and Jonathan Bockelmann pictured above) and La Staab (a.k.a. Tobias Staab) have steadily been changing the pace of Bavaria’s capital.

As residents of Munich’s Blitz club, the three continue to propel the city’s cultural momentum. As Glaskin ready themselves for another release on Hotflush Recordings, La Staab maintains the evolution of his event production and DJ network. In the process, the three find themselves at the core of Munich’s dance music scene. But perhaps more significant than the efforts of artists like these is Blitz Club itself. The venue remains the most important catalytic ingredient to Munich’s newly thriving club culture. Telekom Electronic Beats’ Daniel Melfi got all three together to talk festivals, summer and Munich’s increasingly open-minded crowds.

[Read more: Take a trip through Munich’s most famous ’90s techno club with this fantastically retro virtual experience]

What is your connection to Blitz Club? How did you end up as residents there?

Jonathan Bockelmann: You have to go back to the roots. Two years ago, we were residents at Kong Club. It was the last year before it closed. This club was run by a few of the owners who are now runing Blitz, and we had a good connection to one of them, Brane (a.k.a. Branimir Peco ).We became close friends with him over the years. Ferdi gave drum lessons to his son, and we recently even installed Ableton for him to start producing. So it’s a friendship and not a business connection. With all our releases on Hotflush coming up and our festivals with the Kellerkind crew, everything led to the residency at Blitz.

Tobias Staab: Brane and, well actually, all of the owners have been friends of mine for a long time. Brane probably the longest, because I’ve been doing stuff with this guy since 2005, I would say. We’ve done every festival format, so many DJ gigs and so many projects together, so it was quite likely that we would end up doing something together here. I was DJing at Kong a lot, and before that I was DJing together with him at Die Registratur, which was a place in Munich. Glaskin guys, do you know Die Registratur, or were you too young for that?

FB: No, we know it, but we’ve only been there once, because I was 16 or 17.

JB: I was like 15 and the last gig I saw was Digitalism.

TS: So there is a long journey that Brane and I have gone on together. I was involved in conceptualizing the club from the very beginning. Brane and I were discussing a lot how to do it and how to shape it, and of course they did it themselves, in the end. But it was always the idea of how to bring an international club to Munich and how it should look, what kind of music should be played and how it should be programmed.

Were there other clubs in Munich that you held residencies at or played at frequently before Blitz?

JB: We played at MMA [Mixed Munich Arts] quite frequently. I don’t think it was a residency, though. I was just some friends who were doing the booking there, and they asked us if we’d like to play.

FB: It was on a regular basis, but we weren’t official residents. We just played there every one or two months. I think that’s it. Besides that there was no other club.

TS: Yeah, we had Die Registratur, which was a major club in my life back then. We had Kong, which was actually a bar that was too loud, but it was pretty much a club in the end. It was open until eight in the morning and we had incredible raves there, even though it was kind of small. I felt at home there, but Blitz is a different thing. After Kong closed in 2016 and until Blitz opened up, there was a gap where I was playing in clubs here and there but there was nothing where I could say, “This is my place.”

You guys were at MMA, but I always played where the clubs were run by my friends that were in the community. Then, when Blitz opened up, it was a different thing because the sound system was so much better than anything we’ve ever had in Munich. And the atmosphere was also different. From that moment on, it was really like, “Oh, I’m really enjoying it, I’m excited to play.” It’s a different way of preparing a DJ set, for instance, and how you select tracks. Sometimes it’s like listening to a track for the first time on that sound system.

What makes Blitz so unique?

FB: It’s not only the sound system. I think it’s also the space itself—it doesn’t have the typical look of a techno club. If you look for specifically at Tresor, you have that rough, basement structure of the building that looks very fucked up. Blitz Club is in a studio.

TS: It’s really like a sound studio, it’s true. You have these wooden wall panels that are carved in the best possible acoustic way. The sound is super dry. I remember when they really did the sound checks when Void [Acoustics] was there before the opening, and they played this drum n’ bass track just to test the system. I got goosebumps and thought, “Whoah! This is different.” But on the other hand, it’s the club, it’s the sound system, but it’s also the Deutsches Museum that it’s located in, which is a very important building in Munich. It’s a symbol of the city. The actual club is this wooden sound studio spaceship in the middle, but you you really can get lost in it.

The club consists of several spaces. You’ve got the stairs, the different bathrooms and the different bars. Sometimes I’m there with my friends and we don’t even run into each other because we’re always at different places! This is for me, part of a good club experience: if I can get lost somewhere. It’s not a box space where you basically see everyone from every part of the room.

That definitely adds to the longevity of the clubbing experience. What was interesting to me was that, although Blitz and other clubs have opened and closed, the people in the city are the same. How have they reacted to this new venue?

JB: I think that in the past, people went out to have a good time and to party. But now, through those venues in Munich like Blitz, more and more people are interested in what’s going on and who’s going to play. People want to hear new music and new acts and they’re becoming more open-minded.

TS: I think the thing about Munich, or what I’ve been working on for the last 10 years, I would say, is trying to do festivals, events and performances where the music that’s being played isn’t being played in every club. You guys know that because I’ve booked you so often. Blitz helps to establish some sort of scene. people go there and they don’t necessarily know who’s playing, but they get surprised by the sounds and by the type of music. This is definitely a big prop to the booking. They’re really doing a good job and they’re mixing things up. One time you might have a bigger DJ, but then, for instance, last time I was playing there, it was Lanark Artefax doing a live show, Actress was playing and on the other floor and Axel Boman doing an all-night-long set on the third stage.

So you can mix different types of music. Sometimes it can definitely be too challenging for people on the main floor. But it was something very new because nobody would dare to book those sounds otherwise in Munich. I’ve tried to do it in other clubs, but I never really succeeded in establishing a night that worked very well. People get in touch with music that they wouldn’t have if it weren’t for the context of the club. This is the big thing that Blitz is trying to achieve. It’s a good thing.

Is that motivating for you all as DJs, that you can think, “Yeah, I can play this and push them”?

FB: It’s completely different playing two hours at a festival versus two hours in the Blitz club. You can be more of a teacher and play a wider variety of music than you’re able to at a festival.

TS: I don’t like the word “teach” because it has this didactic dimension. I see it more as an invitation. But you know, hey, we’re playing this stuff, maybe you don’t know it, or maybe it’s difficult, but maybe there’s this moment where you feel invited to go for it and dance to it. I can really feel that the environment at Blitz gives me the opportunity to try out way more things than I could in clubs like Kong, where you really have to focus on an audience which might not be so into the music. But now, at Blitz, you can play way more difficult and abstract stuff. And people are just digging it. This is the special thing about it. I’m a big Berghain fan and I like to go there, but in nine out of ten cases, I’m so disappointed with the music. I have the feeling that there is some weird dictate that you have to play heavy techno music of a certain speed in a certain way, because this is the Berghain “sound.” In a context like Blitz Club, artists have more of an opportunity to experiment.

In Munich, is the scene growing beyond Blitz Club?

FB: I’m a member of a promoter collective of two festivals here in Munich called Back To The Woods and Schall Im Schilf. We sold out super fast and we have no commercial lineup: Red Axes, Mano Le Tough and Gerd Janson are playing, and we have a Hotflush stage with Or:la, Oliver Deutschmann and Scuba. But you won’t find a name like Richie Hawtin, Sven Väth or other commercial DJs. Last year, we sold a couple thousand tickets in about five minutes.

TS: Yeah, what you guys do there is insane. I’ve never heard of a festival selling out as fast as the festivals these guys are doing. Even with my smaller stuff, you can tell people are more used to—or are looking for—more experimental music these days. An Actress live act or an Andy Stott live set was pretty hard to digest for a Munich audience, but now I have the feeling they’ve reached the point where they could go for that. People were interested and people were coming even though it was super underground. It’s always different in Berlin, I guess, but in Munich you really have to work for events like that. It’s great that after some years, people are ready to go for things that they don’t know.

What’s the clubbing consciousness like in Munich? Is it becoming a part of the culture?

TS: You’re asking if it’s like Berlin and it’s sort of part of the lifestyle? I don’t know, actually.

FB: It’s hard to say. One fact is that there are more gay parties starting. They’re working really well. The gay community is coming to life in Munich. I think this whole community gives other people a stronger hope to do things, so it will be great to see what develops.

JB: It’s a big change.

TS: I mean, in Munich, the scene is still small compared to big cities like Barcelona, Paris and Berlin. Munich has a very small, niche thing, so sometimes you get very mixed crowds, especially with bigger DJs. You have people coming who don’t necessarily identify as part of the club scene. But then, you’re totally right, it’s so interesting that it combines these gay parties and crews. I don’t mean in a way that people are totally freaking out—it’s just some kind of freedom that you can sense when you’re there. It also has to do with the no-photo policy. In the beginning, people were thinking, “Oh you’re copying Berghain now.” Copying Berghain or not, nothing is more important than to cover people’s phones so that they’re not tempted to start taking photos. All of a sudden you have this free space. These things are happening more and more, and it wasn’t like that even 10 years ago. You have the feeling that anything could happen.

It’s interesting you say that, because I think if you’re living in cities like New York, London, Berlin or Paris, you can forget that things like that are not common everywhere. What other differences have you noticed while traveling abroad?

FB: I think it’s hard to tell what’s going on in Munich. I would say the community in Munich has to still learn something and to think with more of an open mind. That’s the difference between playing a city like Berlin or somewhere else and playing in Munich.

TS: Yeah, there is a small group of people that is really into the music. Then there’s another group of people, I would say, that’s there for the party. But the third group of people is the actual problematic group—they’re there because it’s the hip place at the moment. This is the problem in Munich; people are just following trends and following hypes. There is not a lot of subcultural identity. But we’re seeing that it’s emerging again. You have these gay scenes, these abstract-music-aficionados. You guys were two of them that I met. These are the scenes that you want to develop. There is little space in Munich because it’s super expensive to live there. So someone who has no money, who just gets out of school, who is probably interested in art or is trying to make projects or is trying to establish something—those people won’t move to Munich. Why should they? It’s impossible to live there. You have to get two jobs to survive next to whatever artistic you do. And so not much happens here. But that’s the problem that all big cities are facing.

It sounds like the best way to navigate this change is by sticking together. Is there a close community of DJs that are working with each other?

JB: Yeah. For example, there’s a compilation of a certain DJs and producers working here in Munich. It’s a compilation from a new label called RFR Records, and the first series is called “Bavarian Stallion”. People like the Zenker Brothers, DJ Hell and Jonas Friedlich will be part of it. You can say this is like a circle: those guys have been around for the last four years. This is definitely a group that sticks together.

TS: It’s a scene where everyone knows each other and people are like-minded. Like Illian Tape, or like you guys, we know each other. It’s a small scene, but everyone is kind of collaborating and appreciating each other’s work.

Are there any kind of hang out spots where there are exchanges happening, like record shops, cafes or bars?

FB: Not really. I mean, Munich is still a place where a lot of young DJs are coming to the Public Possession record store and doing some DJing from time to time. That’s one of the spots where some exchange is happening, but there isn’t much.

How did you meet each other?

JB: Through Brane, right? I think he, at some point, showed you our music? And I think that after a little while, we met at Brane’s place at one point.

FB: That was where we smoked all of his cigarettes.

TS: True, now I remember. It’s quite a rare thing. Brane showed me the music and said, “Look at these guys, look at what they’re doing.” And I thought, “Whoah, this is happening in Munich, that’s amazing. It’s something interesting and we should support this.” We got to know each other and we were really trying to find a label or a platform to get you guys in the spotlight. In the end, they made it all themselves.

FB: We all ended up at Blitz.

TS: Yeah, I guess that’s where you ended up.

FB: When we were at Brane’s place, we were talking about the residency at Kong. I’ll never forget our first night playing there. It was a house music club and we were playing that brutal 135 BPM breakbeat techno. After a half-hour the whole club was empty. We were playing to 10 people or something, but we still managed to get the residency.

TS: Everybody was impressed, I guess.

What’s on your agenda in terms of music?

JB: We will be part of a compilation on Cocoon Records. There will be another EP on Hotflush Recordings, with a remix by Marcel Fengler. We also contributed a track to RFR records’ “Bavarian Stallion” series.

TS: Well, I’m not producing music, so I’m preparing two festivals. One is called Panta Rhei, which is happening in Munich at the Muffathalle’s Muffatwerk. We have people like Mykki Blanco, Emptyset and Lotic playing. There is another festival called Noise Signal Silence, which is happening in Cologne in April, which will also feature very abstract, interesting stuff. Lanark Artefax is playing, for instance, as well as Emptyset. This is what I’m considering right now.

What kind of sound is flourishing in Munich right now?

JB: I think if we would have played the set that we played at Kong three or four years ago now, it would be appreciated and people would enjoy it.

FB: Super fast techno, that’s something that’s quite a thing right now. A lot of the time, we are beyond 135 BPM. It depends on the time we’re playing, but that’s a thing at the moment.

TS: Well, I never play that fast, I play a lot of breakbeat-ish stuff, which is not 4/4 and is kind of leftfield. But I can tell that people are understanding that kind of sound now. There’ve been so many times where people have stopped dancing and looked at me, like, “What the hell are you doing?” Now, you can tell that now everybody is getting into more abstract grooves, which is amazing. That is so much fun. There’s nothing more boring than serving people what they actually expected before they got to the club.

You can catch Glaskin and La Staab perform at Telekom Electronic Beats’ Clubnight next Friday at Blitz club Munich.

Read more: The 10 artists who are turning Munich into a techno powerhouse

The post Munich’s Techno Scene Is On The Rise—Locals Glaskin And La Staab Explain Why appeared first on Telekom Electronic Beats.

German House Music Explained: A Guide To 5 Essential Tracks By Butch

Delivered... By Zach Tippitt | Scene | Wed 28 Mar 2018 11:29 am

The post German House Music Explained: A Guide To 5 Essential Tracks By Butch appeared first on Telekom Electronic Beats.

Bézier’s Guide To The San Francisco Bay Area’s Thriving DIY Electronic Underground

Delivered... By Bézier. Photo by Elizabeth Claire Herring. | Scene | Mon 26 Mar 2018 10:52 am

Considering that the San Francisco Bay Area is currently the global capital of high technology, it’s hard to imagine a time when that wasn’t a case. And, in fact, after the first internet bubble burst in the early ’00s, the city experienced a brief creative blossoming that attracted artists from around the United States. One of these people was Bézier (a.k.a. Robert Yang). He co-founded the Honey Soundsystem collective at the tail end of this moment, and recently released his debut LP Parler Musique on Josh Cheon’s Dark Entries label.

Needless to say, the San Francisco Bay Area has changed a lot since then, and the second tech bubble has proven to be more lasting and damaging to the city’s creative landscape. Despite this, Yang had a lot of positive things to say about the current San Francisco Bay Area scene when we met him in Berlin this month following his live set at Panorama Bar. Below you can find some words about his experiences in the early ’00s and then his guide to the growing local DIY movement. And if you like this guide, check out our prior guide to some of the other DJs and producers who make up the city’s musical cosmos.

“Back in 2006, when I was still exploring the surroundings of the San Francisco Bay Area, I was able to catch a few acts that reaffirmed my decision to move there. I remember seeing Sutekh (later popularly known as Rrose) commanding a dance floor in a squat-like apartment with melodies and tracks not unlike what you would hear on a Warp records release from the ’90s. Elsewhere, in a warehouse in the Dogpatch district, I used to attend Gentlemen’s Techno, a monthly underground event series that showcased live acts and DJs like Clipd Beaks, Bronze and Safety Scissors. In the heyday of the post-dot-com bust there was a promising field for new electronic music in the Bay Area.

2008 rolled around and the economic slump hit the country hard. But for some reason, the San Francisco Bay Area began catapulting economically and overnight hordes of technology companies began to appear, illuminating the grid of the Bay like a Christmas tree. Suddenly, DIY electronic musicians began to leave for Berlin, Los Angeles and New York City. Every year, the stable of musicians in the Bay Area seemed to decline.

Over the past few years, a new cohort of musicians, producers and sound engineers has started to appear. They have staked a claim to the landscape, and they’re using unusual locations to create spaces that fulfill the need for this music. The development of the scene seems to have quickly re-invented the culture in a very progressive way, with more people of color in the environs and way more queers and women.

Here are some of the artists who’re leading the charge in this remarkable revitalization of the San Francisco Bay Area’s DIY electronic underground.”

8ulentina & FOOZOOL, “Plasma” (2018)

Club Chai is the killer party that electronic music heads in the Bay Area have been waiting for. Their recent showcase for Boiler Room featured a cast of rising POC, queer and female producers. A lot of us have been waiting to see more people who look like us on a public platform, so this was a very welcome delight. Here, FOOZOOL & 8ULENTINA, the brains behind Club Chai, have released their first musical collaboration, a hard-rocking techno track for the recent Physically Sick 2 compilation.”

Piano Rain, “Love Is Energy” (2015)

Piano Rain (a.k.a. Aja Archuleta) has been in the local scene for several years. Specializing in live hardware sets, Archuleta has performed with Oakland-based dark electronics crew Katabatik, and she’s a regular at Club Chai as well as at Roche’s Run the Length of Your Wildness parties and the newly reincorporated Stud Club. Here’s a track from her that brings out that inner Diva Energy.”

Experimental Housewife, “Scoria” (2017)

Experimental Housewife is Evelyn Malinowski from Montana, USA who then lived in Berlin and finally in San Francisco. For over two decades, she has been working in the mediums of sound and art. With her track ‘Scoria’ you can hear the craft of her work. It’s a textured soundscape with gritty melodies that almost mimic the mood of the deconstruction of West Oakland’s industrial setting by new property development.”

The Creatrix, “D’lex N’ritja” (2017)

The Creatrix is Sylvia Viviana. Born and raised in San Francisco, she recently returned to her home town to rally her instincts. Viviana specializes in power electronics. Her track ‘D’lex N’ritja’ hits us both physically and psychologically. The track feels surreal, like you’re traversing a labyrinth accompanied by a warped John Carpenter-esque bassline. It makes you think of pulling levers to open up hidden passages. The punishing drum patterns feel like you’ve accidentally activated some contraption that shoots arrows aimed to penetrate the body.”

Indy Nyles, “Right Order This (Original Mix)”

Indy Nyles is a hardware specialist. He owns the Important Jogger label, and he’s a mainstay of the Oakland electronic scene. Nyles regularly performs throughout the Bay Area with live hardware and gear. Recently he became a resident of the Direct to Earth parties in Oakland. Listen to his atmospheric techno track and be transported into another dimension.”

Roche, “A Train To Nowhere” (2017)

Roche (a.k.a. Ben Winans) is co-creator, along with the late Cherushii, of the Run The Length Of Your Wildness parties in San Francisco. More importantly, Ben Winans has been performing and producing atmospherically psychedelic music as Roche for nearly a decade, with releases on Mathematics and 100% Silk. His ambient track ‘A Train To Nowhere’ is dense and ethereal. It’s a soundtrack to an edge of the world scenario.”   

Skander, “Death By Handgun”

“Skander, along with his twin brother Sohrab, has made their mark on San Francisco in the form of their record stor, RS94109. Located in the once-seedy but now trendy Tenderloin neighborhood, their in-store events and selection have helped to revitalize the city’s local music culture. This is a track from Skander off the brothers’ newly minted record label Through Greater Evil.”

See more photos from Elizabeth Claire Herring on Instagram.

Read more: 11 DJs and producers reviving San Francisco’s scene

The post Bézier’s Guide To The San Francisco Bay Area’s Thriving DIY Electronic Underground appeared first on Telekom Electronic Beats.

4 Science Fiction Novels That Will Blow Your Mind According To Matrixxman

Delivered... By Matrixxman. Photos by Elizabeth Claire Herring. | Scene | Wed 14 Mar 2018 10:30 am

Science fiction and techno go together like Berlin and Detroit. That’s something that often comes to mind when we get lost in the sprawling IMAX-like techno soundscapes produced by Matrixxman. The Berlin-based producer’s work has long been defined by a sci-fi sensibility that pops up in everything from his sound design to his title choices to his chosen monicker.

Tracks like “Access Granted” and “Desert Planet”—both off Sector III: Polyphony, his relatively recent EP for Dekmantel—seem to exist as a part of a fictional, universe of his own creation. This is a mythology that incorporates aspects of advanced artificial intelligence, interstellar travel, creepy transhumanism and gritty neo-cyberpunk noir. Or that’s what we think of when we listen to his music at least. Don’t believe us? Just listen to his mix with Setaoc Mass for EB.Radio.

Unsurprisingly, Matrixxman is also a huge fan of science fiction books. Since we could use a good read, we asked him to provide us with a few of his favorite recommendations.

(Please note: We suggest you play the above techno mix alongside the following ambient noise as you read on.)



The Drowned World by J.G. Ballard (1962)

Ballard is supremely adept at articulating the subtleties of this collective psychosis we are experiencing right now in human history. Despite the bulk of his work not being hyper futuristic in the traditional sense of spaceships or AI-related tropes, he somehow manages to paint breathtakingly detailed visions of his own take on a post-apocalyptic world, or in some instances, an apocalyptic slant on the present. Compared to others in the genre, his willingness to delve into the unpleasant depths of the psyche isn’t just for shock value; it offers great purchase for the mind’s eye to grab onto and take hold of. Subsequently, the worlds he creates feel very immersive and real.

One of those happens to be The Drowned World. The story takes place in a not-so-distant future in which Earth has been overtaken by massive flooding presumably caused by global warming. And given the Trump administration’s proclivity for climate change denial (evidenced by the US’s withdrawal from the Paris Accord, something so absurd in and of itself), this theme couldn’t be more relevant for humanity right now.

If you’re the type to romanticize remnants of civilisation struggling to prop itself up into something resembling society, this might perfect for you. Despite the subject matter being rather bleak, Ballard’s genius makes it thoroughly enjoyable, and I find myself frequently identifying with the protagonist’s nihilism more than I might care to admit. This version of the planet seems to be undergoing a massive reversion to the Triassic age. This isn’t exactly something I’d have thought to be interesting, but Ballard seamlessly pulls it off. Who knows, you might also walk away with a newfound appreciation for reptiles.

Crystal Nights by Greg Egan (2009)

Hollywood sci-fi tends to focus on the more sensational side of emergent AI and the multi-faceted implications of AI becoming fully sentient. It’s far too often we are shown gnarly ass scenarios of killing machines running amuck or some pernicious force that is hellbent on doing its thing with no regard for humanity. And rightfully so. According to minds like Stephen Hawking, those scenarios are not only well within the range of possibility, but they’re actually rather likely.

A less glamorous but equally fascinating alternative outcome entails AI simply not giving a flying fuck about us. For whatever reason, we humans love us some good drama, so these alternative approaches wouldn’t exactly make for a good movie script. But they are occasionally tackled head-on in some sci-fi. Although Egan is routinely classified as hard sci-fi, this one is straightforward and nails it succinctly. It involves an Elon Musk-esque character using his surplus in venture capital to fund super computer simulations of AI in which he allows them to evolve on their own, with just a little tinkering from outside. This short but sweet story by Egan is, in my opinion, the most plausible manner in which we could see AI become self aware. This also happens to be a great primer to his other works like Diaspora, for those interested distant-future transhumanist adventures.

Singularity Sky by Charles Stross (2004)

We can only speculate as to what exactly will happen when the Singularity is finally upon us. However, if there is one thing most writers seem to agree on, it’s that most likely all hell will break loose when the time comes. Singularity Sky, one of the two Eschaton books, explores that concept a few hundred years in the future with a remote colony of Earth that is stuck in a repressive 19th century Victorian age of sorts.

The initial premise itself is already enthralling before the action kicks in; the Singularity occurs and, for some reason, an omniscient AI known as The Eschaton inexplicably scatters humanity throughout a 6,000-light-year-range of the galaxy, perhaps as either some form of punishment or self-defense. But then things majorly kick off when the totalitarian colony of this World is paid a visit by a collective of uploaded minds known as The Festival. Typically I’m not the type to enjoy anything remotely related to the fantasy genre, but the clash between futuristic and retrogressive cultures here couldn’t be more exciting.

Matter by Iain M. Banks (2008)

While we’re on the subject of sci-fi books that straddle the dichotomy of sci-fi and fantasy, one would be doing the genre a massive disservice not to mention Iain Banks’ masterpiece Matter, part of his infamous Culture series. Similar to Singularity Sky, the story juxtaposes a hyper-futuristic civilization next to a feudal society stuck in the past, although there’s not much shared outside of that element. I’ve yet to be disappointed by any of the Culture books, and as far as I remember, they aren’t in any chronological order, which makes them easy to read randomly or concurrently.

The series is based on The Culture, a kind of United Nations of the universe in which humans, AI and other species come together for a singular democratic cause. Although The Culture has primarily altruistic motivations, things tend to get messy rather easily when they come into contact with non-Culture civilizations. And as you can imagine, that is precisely what happens on this particular Shell World, a vast multi-level artificial planet that houses numerous civilizations within it. We become acquainted with the Special Circumstances unit of the Culture, a division tasked with some of the more creative forms of meddling with other civilizations when left with no other option.

In the Culture series, the AI (such as the drones and AI’s belonging to ships) have just as much personality as the human characters, which makes for a highly entertaining dynamic. The size of Banks’ universe is staggering and teeming with life in all corners. If sci-fi continues on its trend of being somewhat prescient and dictating possible realities to come, I’d gladly welcome a world like his.

See more photos from Elizabeth Claire Herring on Instagram.

Read more: Check out this comic by legendary Detroit techno illustrator Alan Oldham

The post 4 Science Fiction Novels That Will Blow Your Mind According To Matrixxman appeared first on Telekom Electronic Beats.

Fiedel Explains How He Created The Latest Berghain Mix

Delivered... By Fiedel. Photo by Danny Crouch. | Scene | Fri 9 Mar 2018 2:01 pm

Born and raised in Brandenburg, Fiedel has never been far away from Berlin. The long-time Ostgut and Berghain resident has built a reputation as a sharp DJ thanks to his mind-warping techno sets. Since debuting on Ostgut Ton’s Fünf compilation in 2010, he’s gone on to launch his own labels, Fiedelone and Fiedeltwo. He’s also half of the force — alongside Errorsmith — behind the MMM project. That was one of the reasons why we tapped him to be a part of the B-Sides video series on our YouTube channel, which you can watch below.

Now, he’s back as a part of our Played Out column, which explores the methods behind some of our favorite DJs’ techniques. For this one, he deconstructed a portion of his latest mix, Berghain 08. From banging techno, to the funk-influenced foundations of old-school Detroit, Fiedel has revealed a good chunk of his musical spectrum. For him, it’s not about numbers, bars and theory. Instead it’s all about feeling.

Location: Berghain
Date: Sunday, November 18, 2017
Time: Around Noon

The following excerpt is taken from Berghain 08, which was recorded live at Klubnacht in Berghain, November 18, 2017. I played a regular four-hour set that Sunday around noon.

Actually, I played two sets because of my intention to record the mix. In the first half, I was warming up, and I switched on my gear for recording. Eventually, I pressed the record button, broke the music down and started the set I had in mind for the mix. I put together a selection of vinyl and dubplates, which I wanted to choose from, and I had a vague idea of how the story should go. The rest happened there in real time.

We dive in at about 22:50, after I restarted the crowd. I played some groovy stuff in the beginning, so that they would be ready to tune in for the second half of my set.

Noncompliant, “Women’s Work” (Fiedeltwo 2018)

This track by Noncompliant (aka DJ Shiva) is so bouncy and raw that it moves every bone. It’s got great beats and breaks. Since this wasn’t released by the time of the mix, I cut this track to dubplate.

Those long sets at Berghain require two different things: first, you have to develop a marathon style and give people time to dig your vision, otherwise you or the crowd will be exhausted after two hours. Second, you have to keep the mix interesting with variations in the music. For Berghain, the style of this track is kind of lightweight. But I like to play different styles during my sets and change beats from straight to bouncy and back again. From the perspective of the mix, it is still a sort of warm-up.

I mix it in right after a track by DJ Hell. I put it in at a suitable point with bass EQ set to low and change it over to merge the two tracks. The vocals and main sequence get along fine together. At one point, I press stop on Hell’s side and cut into the full track of Noncompliant.

Juan Atkins, “Session 1 (Original)” (Tresor 2005)

I start to push it a little bit more with Juan’s track. It’s still funky and slightly hypnotic, but this track marches on to set the tone for further acceleration. I especially like how Magic Juan works the main sequence, which meanders and changes throughout the progression of the track.

These are two extremely busy and bass-y tracks. I need to keep the beat, so I come in during the break with the bass EQ at low. Since the sequence starts soon, I need to fade out quickly.

Ø [Phase], “Binary Opposition (Peter van Hoesen Process)” (Token 2012)

This track is my favorite of Ø [Phase]’s “Binary Opposition” reprocessed series—the track is by Peter van Hoesen. The intro is kind of sparse and becomes even more surprising when the filter starts up. It’s a perfect tool to push the crowd.

About 30 minutes into the mix, I change to more straight-up beats. Waiting for the main sequence and taking advantage of the first part of the track, I let it run together with the record for a little while. How many bars? I just don’t know. I don’t count at all. It is a feeling. I fade out the old track before bringing up the highs and bass.

Stefan Rein, “Panther” (Ostgut Ton 2018)

Stefan’s track is a hypnotic stomper. I chose it for the exclusive EP on Ostugt Ton, because it perfectly describes the mood on the Berghain dance floor. A rolling bassline and a hypnotic sequence let you drift away from physical reality. I kept this one in for a bit longer to let it develop its forces. The record I played was the test pressing, since the finished copies weren’t available at the time.

I merge the two records in a long transition and keep it going for a while. Raising the volume with the bassline, and switching bass EQs, I make way for the hook. Then, I switch over just before the percussion starts.

Unknown Force, “Circuit Maximus” (430 West 1995)

With “Circuit Maximus” the mix takes its grip again. I love this track as a mixing tool. Released in 1995, it is one of the oldest records in the mix. That makes it sound a bit different compared to the more recent productions. In the past, the bass wasn’t so heavy and the tracks weren’t so compressed. While mixing, you have to pay attention to this and set the levels and equalizers accordingly.

I put in the track with the first percussion and let it roll with the bass EQ set to low. Here I need to compensate the speed. This sometimes happens when you play vinyl, but I brought it back to sync. With both bass EQs on low, I fade out
“Panther” and bring in the lows of the next track.

Ausgang, “Acetat” (Fiedeltwo 2018)

This one is also on the upcoming Fiedeltwo compilation. The Ausgang guys gave me a 10“ dubplate together with a copy of their latest release. I checked it out and liked it immediately. The title just says “Acetat”, which is another word in German for dubplate. For me, it’s a perfect mixing tool. It’s got a raw funkiness and nice breaks that make the audience scream. In the mix, it’s now time to go a little bit harder.

I blend it in with the first note. At Berghain I like to create a flow that I can continue throughout the set by blending instead of cutting. That means adjusting the volume and bass EQ for the needs of bringing those two tracks together. Then I switch tracks completely during one of those nice breaks.

Espen Lauritzen, “F/T/S” (LDNWHT 2013)

The mix goes even harder. This track is a true masterpiece by Espen Lauritzen. It’s my key track of the mix. Funk and power are unleashed in this track. He manages to combine those two components in a way that will always make me want to dance when I hear it.

Quick and dirty: I switch bass EQs and get in. “Acetat” is quite short and has no outro.

Avgusto, “Hidden Visitors” (FLASH Recordings 2017)

I get back into a straight and hard track here with a dubby feeling. It keeps on pushing and works just right with the filtering of the sequence.

Both synth lines fit together well. I merge, as described already, and wait for the first break to approach. That is a good point to get out of the track. The sequence just starts and the mix starts shifting.

Gonzalo MD, “Violent Environment” (Decision Making Theory 2017)

The rave continues with this track. I like its hook and how it evolves with the chorus coming up sometimes. It’s a perfect rave tune.

The hook comes in slightly with the bass EQ at low. I push up the volume and switch out the bass. The smooth blend works well for continuing the mission.

I end this little excursion here at about 58 minutes into the mix. I will go on to more trippy stuff, before it gets to round two when more dance force is applied. As you might have recognized, I recorded an atmosphere track as well, but mixed it in only occasionally. The venue has a large reverb and it doesn’t feel appropriate to have it in for the whole time. So, I chose more quiet passages to put it in.

The mix continues for more than an hour, but is still quite short and condensed compared to a regular set at Berghain. Without time limitations you are able to tell a longer story and dive deeper into each section. For my pick of records and the way I mixed, I was lead by the feeling of the moment.

Read more: New York selector Mike Servito walks us through his party rocking DJ style

The post Fiedel Explains How He Created The Latest Berghain Mix appeared first on Telekom Electronic Beats.

Meet Borusiade, The Producer Leading Romania’s Experimental Music Revolution

Delivered... By Chloé Lula. Photos by Elizabeth Claire Herring. | Scene | Tue 6 Mar 2018 11:36 am

The post Meet Borusiade, The Producer Leading Romania’s Experimental Music Revolution appeared first on Telekom Electronic Beats.

10 Albums That Defined The Prolific Electronic Outfit Mouse On Mars

Delivered... By Daniel Melfi | Scene | Wed 28 Feb 2018 2:08 pm

The post 10 Albums That Defined The Prolific Electronic Outfit Mouse On Mars appeared first on Telekom Electronic Beats.

Played Out: A Morning At Robert Johnson With Traffic Records’ Bodin & Martyné

Delivered... By Bodin & Martyne | Scene | Fri 23 Feb 2018 6:08 pm

In the last few years, Traffic Records has become one of the most exciting crews in Frankfurt. Taking cues from the stripped-down minimal sound of Offenbach am Main’s famous Robert Johnson club, the label has created its own style with added touches of electro, tech-house and 2-step. These influences abound in any set you’ll hear from Traffic’s four major figures: Jacob, Bodin, Martyné and Patrick Klein. For the latest edition of our Played Out column—which has DJs sharing their techniques with us— we join Bodin and Martyné for a twisted early hours set on their home turf at Robert Johnson.

PLACE: Robert Johnson, Offenbach am Main

TIME: The morning

SEE ALSO: How the Zenker Brothers construct their techno sets

  1. Martyné: C&M Connection, “Bio Rhythms” (KMS 1990)

This track has amazing drumming and a special mood. I like to play melodic tunes in the morning, and this one is a nice cross-section in that it creates a super atmosphere together with a bleepy beat. The unusual arrangement has a great effect on the floor.

It’s best to play some reduced tracks before so the track gets the room it needs to work.

  1. Martyné: DJ Safeword, “Hell” (Nerang 2017)

“Hell” is, in my opinion, a super example of a great acid tune. It keeps the synth on the level needed and doesn’t go further. It’s a thin line for tracks like this; I don’t like it when the acid elements expand too much. For me DJ Safeword found the perfect mix here. It has a great impact without using too many elements.

Play it at the peak, as it’s easy to mix without big blends.

  1. Martyné: Martyné & Jacob, “Quasequini” (Traffic 2018)

“Quasequni” has been in heavy rotation since its finished. It reminds of an old Slam track, and it fits perfect in that time between 4 and 7 AM. It’s a bit kitschy at moments, but that levels up the feeling you get hearing it.

It’s best to loosen up the floor a bit and lead the set to another direction.

  1. Bodin: Quaid, “Cascade” (Seraphim 1998)

This amazing ambient/breakbeat track never had an official release. It was produced by Ben Naylor back in 1998. There’s not that much information available about the release or even about the artist. It came out as the sole release on Seraphim Records.

I use this tune mostly to finish up the night.

  1. Bodin: Cybersonik, “Melody 928.V2” (Plus 8 1990)

I started playing this record four years ago. This release by Cybersonik—Daniel Bell, John Acquaviva and Richie Hawtin—is the first of four under that alias. These three masterminds created a timeless record that still sounds fresh after 28 years. It starts with a huge compressed kick drum and flanged hi-hats and continues with a well-progammed bassline that fits perfect with the melancholic melody. I play this track at night around 2 or 3 AM. It’s easily to combine with other tracks because of its tool-y character.

Martyné and Bodin will play at our Telekom Electronic Beats Clubnight at Institut für Zukunft in Leipzig this weekend on February 24. They will also celebrate their five-year anniversary as a label in Frankfurt on March 16.

The post Played Out: A Morning At Robert Johnson With Traffic Records’ Bodin & Martyné appeared first on Telekom Electronic Beats.

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