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

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.

Long Live The Record Loft: How A Berlin Vinyl Institution Survived Gentrification

Delivered... By Daniel Melfi. Photos by Elizabeth Claire Herring | Scene | Fri 23 Feb 2018 12:56 pm

The post Long Live The Record Loft: How A Berlin Vinyl Institution Survived Gentrification appeared first on Telekom Electronic Beats.

UK Techno Heavyweight Hodge Explained In 5 Essential Tracks

Delivered... By EB Team | Scene | Thu 22 Feb 2018 11:15 am

The post UK Techno Heavyweight Hodge Explained In 5 Essential Tracks appeared first on Telekom Electronic Beats.

Astronauts And Techno Wormholes: Jeff Mills Opens Up About His New NTS Show

Delivered... Interview by Daniel Hugo | Scene | Tue 20 Feb 2018 12:41 pm

The post Astronauts And Techno Wormholes: Jeff Mills Opens Up About His New NTS Show appeared first on Telekom Electronic Beats.

5 Things You Need To Know About Rising Russian DJ Inga Mauer

Delivered... By EB Team | Scene | Fri 16 Feb 2018 11:17 am

The post 5 Things You Need To Know About Rising Russian DJ Inga Mauer appeared first on Telekom Electronic Beats.

15 Essential Wild Pitch Remixes From House Music’s ’90s Golden Years

Delivered... By Finn Johannsen | Scene | Tue 13 Feb 2018 12:32 pm

When it comes to house music history, DJ Pierre’s name is most often credited with co-inventing acid house as a part of Chicago outfit, Phuture. But did you know there’s more to the man’s career than squelches and TB-303 basslines? Later, in the ’90s, he moved to New York and developed his own style of looped-up and extended remixes that would once again shake the very foundations of house music.

Nowadays, record diggers can find these mixes on records of the era marked as “DJ Pierre’s Wild Pitch Remix”. This pays homage to the classic New York party series of the same name thrown by DJs Bobby Konders and Greg Day. Inspired by the way these parties mixed all sorts of genres under the same banner, Pierre decided he wanted to create a remix method that took the same approach.

A hallmark of this approach is the sheer length of these remixes, which often extend past the 10 minute mark. Designed for DJing, these remixes introduced new elements bit-by-bit while creating hypnotic grooves and euphoric climaxes. It goes without saying that many of these cuts are all still in pretty heavy rotation, but just in case you’re unfamiliar, we put together this guide to some of the label’s classics and overlooked gems.

Photon Inc. Feat. Paula Brion – “Generate Power (Wild Pitch Mix)” (Strictly Rhythm, 1991)

The ground zero of the genre. All the key elements are already there: the waddling groove, the tense strings, the looping stabs and the gritty vocal samples. The structure was not as refined yet, but the intensity level sure was. This track literally ran over house music in its release year, and Pierre obviously noticed that he was onto something.

DJ Pierre – “Muzik (The Tribal Wild Pitch Mix)” (Strictly Rhythm, 1992)

DJ Pierre has often said that his wild pitch remixing style was inspired by his preference for layering tracks over each other during long DJ blends. “Muzik” is a perfect example of that. Hear how its elements fade in and out, are repeated, modulated, replaced, continued and layered. It is a master class in structure.

Joint Venture – “Master Blaster (Turn It Up)” (Strictly Rhythm, 1992)

Divided into four parts that segue into one another over 15 breathtaking minutes, this track tore through dancefloors with a massive boom when it was released—and it still works today. Despite its power, it actually clocks in at just 120 BPM, which proves that pace doesn’t always equal heaviness.

Shock Wave – “The Mental Track (The Love And Sex Mix)” (Nervous Records, 1992)

Shock Wave is another one of DJ Pierre’s aliases. This track features spiralling chords that seem to stretch out to infinity. If you really want to make your dance floor go nuts, follow this with Inner City’s “Pennies From Heaven”, which is where the original vocal sample comes from.

Midi Rain – “Shine (Pierre’s Chicago House Mix)” (Vinyl Solution, 1992)

This is a DJ Pierre remix of a track by John Rocca’s MIDI Rain project. Heads may known Rocca as the voice that once graced “I.O.U.”, Freeze’s ’80s electro classic. It juxtaposes his distinct voice with some heavy bass and chunky Chicago house pianos. A very solid combination.

Phuture – “Rise From Your Grave (Wild Pitch Mix)” (Strictly Rhythm, 1992)

This record marked the return of Phuture, the acid house outfit that Pierre co-founded. This time around, they had a different sound that was just as powerful. Blurring the lines between house and techno, it paved the way for the dub techno blueprints that would emerge from Berlin a year later. Also see Phuture’s “Inside Out” for another game changing record by this same crew.

Yo Yo Honey – “Groove On (Wild Pitch)” (Jive, 1993)

To understand how radical DJ Pierre’s remixing was, you really ought to hear the original version of this track. In his hands, the cut transforms from a clubby soul song into a hypnotic dance floor builder. It’s one of the best Wild Pitch remixes. Pure perfection!

The Believers – “Who Dares To Believe In Me? (Original Mix)” (Strictly Rhythm, 1993)

Roy Davis Jr. was one of DJ Pierre’s proteges. Here he takes everything that made Wild Pitch great and throws in swirling pianos, funky guitars and a mean saxophone riff. This one’s still a serious statement.

Pleasure Dome – “8 Min. Of Trance” (Power Music Trax, 1993)

Never one to shy away from the latest trends, DJ Duke embraced the Wild Pitch style very early on. He developed his own take that became something of a signature. His Sex Mania label also released a lot of remixes in this style. This particular production is rather subtle by his standards, but it’s all the better for it.

Pet Shop Boys – “I Wouldn’t Normally Do This Kind Of Thing (DJ Pierre Wild Pitch Dub)” (Parlophone, 1993)

Two years after the first Wild Pitch release, DJ Pierre was so successful that he was asked to give the Pet Shop Boys a remix. Like many pop remixes from the era, he didn’t compromise at all. His version of “I Wouldn’t Normally Do This Kind Of Thing” is a surprisingly storming variant of the original.

Danell Dixon – “Dance, Dance” (Nite Grooves, 1994)

Dannell Dixon left Chicago for New York City when he was just 17 years old. Pierre evidently helped out on this, but there’s a youthful enthusiasm to this workout of a track. It shows how efficient a percussion loop can be.

Space 2000 – “Release Me (Vocal Mix)” (Wired Recordings, 1994)

How does the Wild Pitch treatment work if you apply it to a garage house track with a soaring vocal by UK soul singer Matthew David? It works ridiculously well.

Junior Vasquez – “X” (Tribal America, 1994)

The Wild Pitch sound hit while Junior Vasquez was holding down his residency at legendary New York house club, Sound Factory. Vasquez probably recognized the potential of this sound and wanted a piece of the action. He developed it further by adding ballroom drama and thunderous tribal drums that appealed to his crowd of voguers. Vasquez also changed the formula by switching from a structure that constantly builds to one that has more ups and downs. It was nonetheless just as exciting.

Ian Pooley – “My Anthem (Roy’s Back 2 Tha Phuture Mix)” (Force Inc. Music Works, 1995)

Here’s another remix by DJ Pierre’s protege, Roy Davis Jr. It again shows that he thoroughly understood how to create the tension at the heart of the wild pitch sound. Its slightly more techno-edged ten minutes seem to fly by, and it’s kind of disappointing that this speeding train eventually comes to a halt.

The Wild Pitch Brothers – “Mutherfucker Come Here (Wild Pitch Mix)” (Emotive, 1995)

Written by King Maurice—DJ Pierre’s younger brother—and mixed by the originator himself, this record is a deeper excursion that utilizes the Wild Pitch template. Then twisted noises set in and turn it upside down. That bitchy vocal sample is lifted from Larry Heard’s “Premonition Of Lost Love“. It all comes together to make a fine dance floor banger.

Want more sounds like this? Check out Finn Johannsen’s guide to the works of Japanese house master, Soichi Terada.

The post 15 Essential Wild Pitch Remixes From House Music’s ’90s Golden Years appeared first on Telekom Electronic Beats.

Frank Wiedemann And Gudrun Gut Talk About Their ‘Symphony Of Now’ Project

Delivered... Interview moderated by Daniel Melfi | Scene | Fri 9 Feb 2018 12:17 pm

For the last four decades, Berlin has been a city defined more by its constant state of upheaval than by its industry, production or individual subcultures. As the world outside places emphasis on the city’s changes and relative unpredictability, those within its boundaries—like seminal musician Gudrun Gut and Innervisions’ co-founder Frank Wiedemann—have managed to carve a previously elusive slice of cultural independence and more surprisingly, relative anonymity.

Emerging from the watchful eye of the once-divided city’s former authorities and ineffective political structures, Berlin’s artists have forged a formidable defense of their creative autonomy. It’s best understood through the diverse musical canon that has flourished in the city since the early ’80s: Krautrock, new wave, post-punk and techno. This is the artistic range that soundtracks the newest member of the Berlin film canon, Audi Zeitgeist’s Symphony Of Now.

Modeled as a contemporary take on Walter Ruttmann’s 1927 film Die Sinfonie Der Großstadt, Symphony Of Now features an original score composed by Wiedemann and a number of Berlin-based musicians like Gudrun GutModeselektor, Samon Kawamura and Thomas Fehlmann. It serves not only to enhance director Johannes Schaff’s cinematic vision, but also to document over three decades of musical and cultural innovation.

Telekom Electronic Beats’ Daniel Melfi connected Gut with Wiedemann to discuss this musical transition, film scores and how to relate Berlin’s Weimar-era films with modern cinema.

Daniel Melfi: How did the project come to you?

Frank Wiedemann: Max, the guy who does Sacred Ground, a festival I do with Ry X, invited me to meet the movie’s production team and told me about the idea. I was interested in making a soundtrack and I liked the idea of creating music for Die Sinfonie Der Grosstadt and then adapting the new movie to the soundtrack, so you keep the pace and momentum of the original movie. And because the old movie consists of five acts, I thought it would be a good idea to have five guests, one for each act and then just improvise the music, and that’s how we got together.

Gudrun Gut: Actually, I think you asked us at Sacred Ground festival. I was there last year, it was a fantastic festival. And then he asked Thomas Fehlmann and said that he should ask me. And so, for me, it was exciting because I never work together with Thomas. People always think that Thomas Fehlmann and I work together all the time, but we never do, actually. This was a nice opportunity. I immediately liked the idea. And from my side, I knew the movie, because I originally wanted to become an experimental filmmaker and Walter Ruttmann is kind of “the guy.” I love the idea of how he just filmed through the day, and so I felt, “Woah, this is cool.” It’s a fantastic movie.

DM: The new film focuses primarily on the night instead of the day. Does that change the score in any way?

FW: I don’t think so. The score was of course made by “night music” people, but I don’t think it was ever about having too much of the night in my head. It was really that we made the music based on the old movie.

DM: Were they all original pieces commissioned for the film?

GG: Yeah. We met in the studio and we each had a setup. I had a little Korg analog setup. Thomas had something prepared— loops and stuff. And you brought your machines. We hooked it up and looked at the third act and tried something.

FW: I think we had two or three runs.

GG: Yeah, a couple of runs. Then I did some vocal overdubs. And then you finished it up.

FW: That’s actually what happened in all the acts. First we had to explore what instruments or loops we would use, and then we played two or three takes improvising on top of the movie.

DM: How do you feel about the style of the films? Do you think it relates to the lifestyle here?

FW: I haven’t seen that much of the new movie, yet. We both love the old one, even though it was criticized when it was released because it only showed the wealthy side of Berlin.

GG: But in art use, it’s kind of a classic.

FW: Yeah, it is.

GG: What I like about it is that it’s not like a normal story or a love story with a beginning, middle and end. It has a beginning, middle and end, but it’s just a day, it’s not a personal story, I really like that.

FW: I see the old one definitely as a document of its time, of course. That’s how Berlin was in the ‘20s.

GG: For me, I came to study in Berlin. I come from North Germany. When I started studying, it was really exciting to see that movie, because you saw something of the history of Berlin. There are a couple of other movies where you just see the life—kind of like a documentary of the time. And I think you see much more of the time and of the city when you have documentary material. It just shows more of reality even though sometimes stuff is left out.


DM: Do you think film scores vary in their purpose?

GG: Yes, there are totally different film scores. A lot of  filmmakers just want to have something they’ve heard somewhere else. Or they have a bad picture, a bad scene and they want to make it emotional with music.

FW: Have you ever watched a movie without music, Daniel? What I want to say is: It’s really hard to watch a movie without music. I don’t think you get the drama and the pace and everything. It’s a lot about music and sound. That’s why I’m really interested in how deaf people experience movies, because I feel like the music is a part of the drama of every movie, even if it’s kitsch or cheese or whatever. It’s made by the music and not just the kiss.
You can really change a movie drastically with music. When I first went back to watch Die Sinfonie Der Grossstadt after not having seen it for a long time. I watched it without any music intentionally so that I would not be influenced.

DM: I noticed when I watched Die Sinfonie Der Grosstadt with ambient music, certain parts didn’t line up with the pace and others did. How does the contemporary music line up with the old film?

FW: I think it works for me. I did the music on another silent movie from the 1920s, and I think it works.

GG: I think the good thing about this project was that there was a lot of emphasis on the music. Normally, when you have film scores, it’s the last thing they take care of. Then it’s super rushed and there’s not much money left, and it’s a little bit problematic. But it’s nice that they did this and that you already had the music as an important part of it.

DM: How did you decide where to put each part?

FW: Well, everything was a bit tight with schedules. So we had to find dates with each participant for the studio. Modeselektor were the first to go, but I didn’t want to have them doing the first act, so I said let’s do the fourth act. After that, I worked with Hans-Joachim Roedelius on the first act, and then I worked with you and Thomas for the third, and then there was Samon Kawamura fourth and then the last one was with Alex.Do. I also decided that, apart from me being the one element that is part of the whole soundtrack, I kind of wanted to have a chain letter connecting every act with one another. So I took one bit from the Modeselektor part and integrated it into the Roedelius session, but I changed it around. And then we kept on doing the same thing with one element of Roedelius being part of our session and so on.

GG: There’s always one piece going.

DM: Kind of like when you mix two tracks together and keep one common element?

FW: If you do so, it’s like a chain letter really—like it was before email. Somebody writes, I write her a letter and she needs to continue it and then send it to somebody else. It’s like the kid’s game “Stille Post”—I whisper something in your ear, and then you need to understand it and continue the sentence in a whisper to the next person.

GG: Then, in the end, it’s something else. The idea is to have something that combines all the parts because it’s five different partners. I think he did a really good job on this. It’s very hard to have continuity with five different musical characters. This works really well, and the idea of this piece of the music is that you hear it in another one again, so it kind of melts.

DM: Kind of the way the city remains the subject and the tying link.

FW: Like the cab driver that brings the doctor to the hospital and the raver to the club.

DM: How does the film fit into this canon of Berlin films?

FW: We will see.

GG: I think it’s really hard to copy such a classic.

FW: If the movie is half as iconic as the first one—as the original—I’ll be very happy.

GG: It’s an idea, and it’s done. I think it’s interesting for what it is. It doesn’t have to be a masterpiece. To copy an idea is not necessarily an original idea. But I like the idea anyway because it’s like a snapshot of the time. For example, do you know the movie B-Movie?

FW: It’s called B-Movie: Lust & Sound In West Berlin.

GG: It’s about Berlin in the ‘80s, and they only used documentary material.

FW: Did they actually? That’s what I was asking, but it’s also an actor for Mark Reeder, no?

GG: That’s true. They made a movie out of documentary material. Still, it’s nice to see this original material. Maybe in 50 years they’ll see this movie and think, “Ah look, this is what it was like.” But then, on the other hand, nowadays everybody films and has a camera. In the old days they didn’t, so that makes a little bit of a difference.

FW: It makes it hard to make a standout movie. On the other hand, to say something nice about us: I’ve seen three versions with different music for the old one, and there was never a really nice score for that movie. I think that’s just my perspective, but I hope that at least this film will create a musical snapshot of this this era now.

DM: You’re saying the old scores don’t do Weimar-era music justice?

FW: It does, but it’s not an outstanding soundtrack. But that’s because at the time nobody really made soundtracks, they just had an orchestra play.

GG: With this project, music-wise, Frank took the idea of capturing the moment. Musically speaking, it’s much more modern.

DM: How do you think producing a score is different than producing an album?

GG: When you produce an album, it’s your own idea. If you do a film score, it’s a big team of people working together, and you mostly get feedback from the director.

FW: Even if, in this movie, the music plays a big role, it’s always going to serve the movie. It’s not about the music.

GG: Yeah, you’re serving the movie. If you do an album, you do it for yourself. A soundtrack is for the movie, that’s the big difference.

DM: Did working on the score inspire you to reflect on your time since you’d arrived in Berlin?

GG: I had to think about it because I remembered the movie from when I came to Berlin and saw it at the university. At the time I was really interested in this kind of literature, this kind of experimental filmmaking and the montage technique, and all of this. Actually, I’m reading a book right now from a woman who used a similar technique. I forgot her name, but she lives in Cologne, and it’s the same thing, same time: Weimar Republic, how she lives, how she goes to work. A normal working class girl. It is by Irmgard Kern Gilgi, Eine Von Uns— kind of similar take.

DM: There’s something very captivating about those simple but authentic depictions of a regular day.

FW: I was actually just watching Jim Jarmusch’s Stranger Than Paradise for the first time in years. Basically it’s the same thing. It’s about a character who lives in New York in the 1970s or 1980s, and there’s nothing to do except eat TV dinner in an apartment. And it’s super boring, and he does some gambling here and there to win some money, but nothing happens. Then his cousin from Hungary comes to visit him and brings some color into his life, but he doesn’t want that in the beginning. Have you seen that movie? You should.

GG: It’s a cult film. I remember it.

FW: I think we can all agree that we like that kind of document. It’s not really an action movie at all. None of these movies are action movies. You watch and you get a glimpse of a life.

DM: Are you looking forward to the performance at the grand premiere? Will everything be live with lots of hardware?

FW: It’s not possible. We will try to perform live as much as we can. That’s the thing with making music for a movie, in the old days the orchestras didn’t have a backup, but we have the big advantage of modern technology so we can have a backup running all the time. That’s very important because you can’t stop the movie and say, “let’s play another round.” I once did this years ago in Mannheim at Timewarp. Henrik Schwarz, Dixon, Kristian and I scored Das Cabinet des Dr. Caligari live, and it was actually very good to have a safety net. We never used it, but we had it just in case. It makes you feel comfortable and at the same time very free.

The grand premiere of Symphony Of Now will take place in Berlin on February 14 at a soon-to-be-disclosed location, where all of the involved musicians will perform the score live. Pay attention to this space to learn more details as they emerge.

Read more: Activist and photographer Ben de Biel remembers Berlin’s ’90s art squats 

The post Frank Wiedemann And Gudrun Gut Talk About Their ‘Symphony Of Now’ Project appeared first on Telekom Electronic Beats.

War Against The Machines: How AI Is Changing The Way We Make Music

Delivered... By Chloé Lula | Scene | Mon 5 Feb 2018 11:35 am

Friday, January 12 marked the date of Flow Machines’ first musical release. Spearheaded by the highly venerated French composer Benoit Carré, the 15-track pop album entitled Hello World—a nod to the text traditionally used to test the functionality of various computer programs—is the collaborative fruit of many artists’ labor, including the Canadian folk artist Kyrie Kristmanson, the Belgian production team The Bionix and the Mercury Prize-nominated artist C. Duncan—as well as the Artificial Intelligence algorithm that ultimately crafted all of the album’s songs.

AI has increasingly become associated with modernity and the age of convenience. While sophisticated Artificial Intelligence has been, until recent years, only a speculative feature of science fiction, it now drives our cars, provides us with medical diagnoses and plays—and conquers—the world’s greatest chess masters. Now, it’s even bleeding over into our creative industries. The research project Flow Machines, an outgrowth of the Sony Computer Science Laboratories in Paris, is one of a handful of emerging enterprises exploring the possibility of using algorithms to create music.

Such machine learning-powered software is unique in its ability to produce complex outputs that can serve as decisions, predictions and recommendations that are based on patterns extracted from large data sets. In the case of Flow Machines, a project first conceptualized in 2012 and led by AI researcher François Pachet, a catalog of 13,000 songs was used to train statistical models that represent information about how atomic musical events, like notes and chords, follow in succession across different musical styles. These statistical models are then used to generate new melodic and harmonic sequences in a chosen style, serving as suggestions to musicians using the software during composition.

“The idea is that when an artist uses the system, the first thing he has to do is to decide which songs he wants the machine to be inspired by, whether that’s in the form of scores, lead sheets, or audio stems” Pachet said in an interview at the Flow Machines public launch in Paris. “The machine then analyzes all of these inputs, and the user asks, ‘Please generate a score based on whatever I gave you.’” The ostensible aim of the software, however, is not to replace musicians; it’s to help them generate new and unique ideas by giving them access to harmonies and melodic structures otherwise outside of their usual purview, not unlike a modern reimagining of Brian Eno’s Oblique Strategies.

Carré and Pachet both maintain that Flow Machines is the logical next step in the history of music production. Visitors to the album’s launch party in Paris were greeted by posters depicting milestones in the history of music technology, such as the advent of Pythagorean tuning or the invention of Pro Tools. The effect was clearly intended to underscore the inevitability of AI-produced music. The installation also forced visitors to challenge their traditional perceptions of music-making. “What is a musician?” One sign on the wall asked. “We enter a new realm of music technology, producing music that couldn’t possibly be done before created by people who might not ordinarily think of themselves as musicians,” it answered.

This emphasis on technology’s role in democratizing and advancing supposedly antiquated forms of music production was echoed throughout the rest of the evening. The exhibition provided a primer for a presentation on the development and application of the Flow Machines algorithm as well as a preview of one of the album’s songs. As the event’s video explained, each of Hello World’s tracks was created by fusing every artist’s individual input with the algorithm’s own variations on lyrical sequences and rhythms.

The result, which was played on surround-sound speakers, was a summery, undeniably pastiche take on classic radio ballads, featuring harmonized chords and melodic progressions not dissimilar from its non-AI-produced cousins. Although it’s clear that Carré had agency over each song’s basic structure, the algorithmically-indebted stylistic flourishes were uncomfortably artificial. Tracks like “One Note Samba,” “Magic Man” and “Mafia Love – 16 Bits” were sung over by seemingly normal pop vocals that had been inordinately skewed, chopped and transposed by the algorithm. Their synthetic feel was off-putting and clumsy rather than novel and innovative.

If the Flow Machines algorithm is designed to act as a creative tool for composers and musicians, then, it’s only in its first steps. Hello World is unusual in its algorithmic approach to composition, but the music itself is only a kitschy and conventional take on modern pop. And while this vein of AI-produced music doesn’t currently appear to be a boon or a bane to musicians, it does raise significant questions about the implications of using algorithms to generate music and populate our listening outlets. How are listeners supposed to feel about AI-generated music? At what point will these algorithms be able to make “hits”? In a feature in The Guardian, music industry consultant Mark Mulligan suggested that AI music is not inherently about the quality of the music that it creates. “As long as the piece has got the right sort of balance of desired instrumentation, has enough pleasing chord progressions and has an appropriate quantity of builds and breaks then it’s good enough,” he said.

An approach to music production that sidesteps the creator points to the potential financial benefits that streaming services can receive by funding AI. Given that Flow Machines is publicly affiliated with the streaming service Spotify, it’s possible to assume that by padding playlists with music made by algorithms—and not by people—the company can avoid paying royalty fees to copyright holders after the music’s publication. When asked about the legal copyright procedures associated with Hello World’s production, Pachet merely answered, “The machine is never credited—it isn’t technically possible to credit a machine. And the music that we’ve put into the machine we’ve already received the right to use.”

It’s not difficult to overlook the possibly adverse applications of artificial intelligence in music. But it also seems that this conceivable reality won’t be realized for quite a few years, and that even if it is, algorithms like those pioneered by Flow Machines will likely be yoked with the more formulaic compositional styles of pop, EDM and modern folk. For now, AI music is a novelty at minimum and a creative tool at most, and Pachet and Carré are dedicated to exploring and expanding the contours of the Flow Machines tool. They’re even planning a second album to be released on their nascent record label, Flow Records. “The next album won’t be the same story,” Pachet said. “It will have different musicians and a different style. More focus on lead sheets and composition and less on orchestration. We’re trying to start songwriting in a more classical way. Maybe the third one will even be about rap. We’ll see.”

Hello World will be released on vinyl this March. Listen to the single “Magic Man” below and stream the entire album here.

Read more: How Artificial Intelligence will change music forever

The post War Against The Machines: How AI Is Changing The Way We Make Music appeared first on Telekom Electronic Beats.

5 Things To Check Out In Dresden According To Klub Neu’s Gunjah

Delivered... EB Team | Scene | Thu 1 Feb 2018 10:27 am

The post 5 Things To Check Out In Dresden According To Klub Neu’s Gunjah appeared first on Telekom Electronic Beats.

10 Artists Who Will Definitely Break Through In 2018

Delivered... By EB Staff | Scene | Mon 29 Jan 2018 12:08 pm

The post 10 Artists Who Will Definitely Break Through In 2018 appeared first on Telekom Electronic Beats.

CTM Festival 2018: What You Need To See At Berlin’s Best Avant-Garde Event

Delivered... By Born In Flamez | Scene | Tue 23 Jan 2018 11:11 am

A guide to CTM Festival is all but necessary when you consider the scale of the multi-day Berlin experimental extravaganza. From Friday, January 26 through Sunday, February 4, it will bring an avant-garde counterpoint to many of the city’s most popular clubs. This includes everything from a gabber night at Berghain to a performance by The Holly Herndon Ensemble (pictured above). It’s an overwhelming amount of dates and artists to keep track of. Luckily, we were able to enlist the help of Born In Flamez, one of the festival’s curators (who was featured on EB.tv here), to guide us through this year’s must-do experiences.

“I’ve always admired CTM for its strong vision and courage, because it features cutting-edge music without compromise. The team behind the festival is dedicated to creating a special event that is far outside the normative. It features cutting-edge artists from countries that are on the margins of the dance music industry’s focus. This includes people like Zuli from Egypt, Hyph11e from China, Sisso from Uganda or WIXAPOL S.A. from Poland.

It was important for us with this year’s topic, ‘turmoil’, to create a festival that covers the many different musical reactions to the increasingly alien world that surrounds us. As the statement on our website reads, ‘Uneasy times demand uneasy music.'”

Friday, Jan 26: Caustic/Cohesion  with Celestial Trax, Uta, RamZi, Elena Colombi and more (CTM Festival Opening) @ Berghain

“Celestial Trax recently dropped Nothing Is Real, an absolute masterpiece, for the Purple Tape Pedigree label. Alongside Ziur’s U Feel Anything, it might be my favorite album of 2017. Seldom have I heard and seen an artist take such a unique and visionary new approach to electronic club music. His album bursts with original ideas that spread from almost Krautrock-y passages to current deconstructed club percussions. I’ve been a fan of his hyperreal beats for a while, like his productions for Quay Dash and Orlando Volcano, but this recent work has really topped it all. Also, don’t miss Uta, RamZi and Elena Colombi.”

Friday, Jan 26: CTM Festival presents Uncanny Valleys Of A Possible Future with Lawrence Lek and more @ Kunstraum Kreuzberg Bethanien

“The CTM exhibition has truly outdone itself this year. If I could recommend only one piece, I would recommend Lawrence Lek’s Geomancer, which plays as a part of this exhibition at Kunstraum Kreuzberg/Bethanien.

Also, if you’re into light installations like I am, the Skalar installation at Kraftwerk is an absolute must-see. It opens on January 27 and it’s on until February 4. Check out information about that here.”

Saturday, Jan 27: CTM Festival presents Designed Disarray/Happy As Hell with Jlin, Antwood, Paul Woolford and more @ Club Ost

“This is really a typical night for the festival. Where else in the world could you see a lineup that includes footwork legend Jlin, post-digital sound design god Antwood, a raw punk band like Cuntroaches, a digital hardcore hero like Hanin Elias, a breaks-infused house legend like Paul Woolford (a.k.a. Special Request) and an infernal noise duo like Naked? All those sounds will be united by the crisp new sound system in Club OST’s concrete temple.”

Sunday, Jan 28: CTM Festival presents Amenra @ Festsaal Kreuzberg

“How could we comment on the world’s ‘turmoil’ without showcasing a wall of sound made by guitars? Post-metal Band Amenra’s show is nearly sold out, and that’s for a good reason. It’s time to let out and transcend your inner rage through a lot of tears, sweat and neck pain. The show is supported by Scott Kelly, legendary member of Neurosis, who will show off his introspective, sparse and at times despondent acoustic guitar project to counterbalance ‘the pull of darkness.'”

Monday, Jan 29: Ernest Berk – The Complete Expressionist with Rashad Becker, Pan Daijing and more @ HAU 2

“Don’t miss this homage to multitalented artist Ernest Berk (1909 – 1993). He was an electronic composer, choreographer, dance therapist and pedagogue, but also a strong leftist political activist and Buddhist practitioner. This evening will feature performances and interpretations of Berk’s themes by Rashad Becker, Pan Daijing, avant-garde Japanese noise group A and lauded German choreographer Christoph Winkler. This is going to be a very high-brow event, but it’ll still also be fun food-for-thought (and for your ears).”

Tuesday, Jan 30: CTM Festival presents Persist  with Coil’s Drew McDowall, Klein, Olaf Nicolai and Theo Nabicht and more @ Berghain

“A completely different approach to the exploration of the festival’s theme is happening on January 30 thanks to Hyperdub’s new star Klein and her syncopated dissections of R&B, gospel and cut up electronics. On the same night, big-name conceptual artist Olaf Nicolai will showcase his In The Woods There Is A Bird piece. It melds sounds from demonstrations, riots and political rallies into an ‘urgent sonic essay about power and powerlessness, authority and protest.’ He will be accompanied by clarinetist Theo Nabicht. This is an extremely intense piece, and I don’t recommend it for the faint of heart. It will be followed by Coil’s Drew McDowall revisiting his version of Time Machines, a legendary late 20th-century drone and ritual music masterpiece.”

Thursday, Feb 1: CTM Festival presents On Edge with  Bliss Signal (Mumdance and Wife), Perera Elsewhere and more @ Berghain

“I’m especially happy that we could get Bliss Signal for CTM. It’s a duo comprised of bass-heavy UK producer Mumdance and electronics-via-post-metal wizard Wife. I can’t wait to hear how their hardcore guitar noise project sounds live. That headliner supported by the punk rock attitude of Swan Meat and the politically-infused trap of Violence ought to make for a good night. If this is too dark for your tastebuds: DJ Champion and MC Serious, Jason Hou and Perera Elsewhere will also be on hand to serve up some fun wobbly garage and filthy deconstructed grime bangers.”

Thursday, Feb 1: CTM Festival presents FIVE Berlin/Embryogenesis with Rashaad Newsome, Lotic and Roderick George @ HAU 2

“The double performance of FIVE and Embryogenesis is going to blur the lines between high and popular culture as well as movement and sound. If contemporary dance isn’t for you, but you wouldn’t miss a ball, this night just might do the trick. Rashaad Newsome will bring together a makeshift orchestra comprised of NY-based MC Princess Mami Precious, baritone opera singer Justin Austin, five local musicians and five vogueing dancers who will interpret the sounds but also perform their own element of femme voguing.

The performance also includes video game controllers and computer mappings that will visualize the moves. The result creates a multidimensional exploration of movement and sound. Preceding FIVE, club accelerationist Lotic and classically trained American dancer Roderick George will team up to present Embryogenesis, their new collaborative piece. Imagine classical dance moves colliding and merging with Lotic’s metallic dance floor blowouts. Next level shit!”

Friday, Feb 2: CTM Festival presents Adrenalin/Endorphin  with Kablam, Haj300, Marc Arcadipane, Darkraver, WIXAPOL S.A. and more @ Berghain

“Nothing is a more immediate musical answer to ‘turmoil’ than gabber’s recent revival. For our gabber night, we invited different generations together for one evening. We explore the current revival through club fringe artists like Kablam, Killbourne, Haj300 and Hdmirror. We also invited originators from the Dutch scene like Panic and Darkraver as well as Frankfurt’s Marc Arcadipane (a.k.a. The Mover). We also invited Poland’s “post-shame” ravers, WIXAPOL S.A., to bring their prankster sense of humor and 200 BPM sounds to the holy halls of ‘serious techno.’ I can’t wait to see those worlds collide.

Upstairs at Panorama Bar we have Bampa Pana and Makaveli from Uganda who have created something akin to trance and gabber in their “Sounds of Sisso” collab for Nyege Nyege Tapes.”

Saturday, Feb 3: Corpus Nil: Eingeweide with Marco Donnarumma @ HAU 2

“This year’s festival has a strong focus on the development of artificial intelligence and its use in music, dance, performance and everyday life. There are many nights revolving around the theme, but none will be as physical an experience as this one.

Wearing an AI robotic prosthesis that has a particular behavior and sensibility towards its wearer, Marco Donnarumma will perform a ritualistic choreography of movement, sound and light. The dancer and prosthesis eventually access a new identity as they influence one another, questioning ‘passive’ intelligent software, the role of AI in regulating human bodies and the trans-humanist ideal.”

Saturday, Feb 3: The Holly Herndon Ensemble @ Festsaal Kreuzberg

“This special performance by Holly Herndon will make use of the entire space with different performances by individual members of her ensemble in the room. Herndon’s performance itself will also explore themes of AI and frontiers (technological, geographical and otherwise) while celebrating community in keeping with the commending of alternative types of family and kin, and endorsing hope in the face of despondency.”

Saturday, Feb 3: New Turf  with RoxXan, Hitmakerchix and more @ Yaam

“This night is very special to me. I am just going to shake my limbs so hard—not only when hoarse-voiced grime MC RoxXan hits the mic fighting for gender equality in a genre harshly dominated by male figures. We’ll also have Hitmakerchinx who dances for Rihanna and co-founded the dancehall-derived flex dance music. His dancers will hit the floor. His “Shades And Monsters”, which came out on Night Slugs and Fade To Mind in September 2017, is just straight up banging fun. Also, don’t miss out on Nihiloxica from Uganda. It’s an austere and dark collaborative effort with four percussionists, a drummer and a keyboardist playing two analog synths.”

Sunday, Feb 4: Phase Out  with Klitclique, DJ Storm, Pixelord, Flava D and more @ Schwuz

“Staying with the more humorous side of this year’s festival for a bit, I must introduce Klitclique to the world. Their banging feminist rap anthems and performative approach will have you questioning your world views while simultaneously laughing out tears. In 2018, I want them to be president. This night also features South African performance duo Faka, Metalheadz legend DJ Storm, Pixelord from Moscow and Garage queen Flava D. Expect lots of drunk hugs and tears plus a hell of a last dance.”

For more information about CTM Festival 2018, read our review of the 2016 edition

Read more: Here’s what you missed at Poland’s avant-underground Unsound festival

The post CTM Festival 2018: What You Need To See At Berlin’s Best Avant-Garde Event appeared first on Telekom Electronic Beats.

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