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Berlin
I thought I would post an excellent article from an excellent writer. Reading it, it made me think again of visiting Berlin as I did in 2002 (I only made it as far as Munich). Since then I've always wondered about the city, with all the artists moving there.

Who has been? Who has lived there? Why don't you tell us about it. Share your photos. What are the people like? Is the electronic music scene big enough that your average Berliner businessman would know about it? How connected are the film/ music/ fashion scenes? etc.

Help out those with wanderlust who just can't go...







Column: The Month in Techno
Story by Philip Sherburne

In 10 days in Berlin I only saw a "Berlin Wasted Youth" t-shirt three times-- and two of those were on the same person, two weekends in a row-- but evidence of the phenomenon is everywhere. Berlin is famous for its days-long nightlife and weeklong weekends, and rightly so: Berliners may hit the clubs slightly earlier than Barcelonans, say, filling the floors by 2 a.m. (rather than 3:30 or so), but they stay much, much later. Beginning around 6 a.m., "Are you heading to Panoramabar?" becomes the common refrain, and clubbers may easily visit three or four venues in the space of a "night" (scare quotes required when said duration lasts more than 24 hours-- with an emphasis on scare).

Before you ask, of course drugs are a part of the equation; the scene at Watergate at 11 a.m. on a Sunday morning is a gurnfest of such extreme proportions that it must have jaw surgeons rubbing their hands with glee. But chemicals are hardly the be-all and end-all of it; there are plenty of folks, including DJs, who make it through the marathon nights fueled by nothing other than adrenaline and disco naps. Red Bull helps, too; as for alcohol, you begin to understand those hippies who get on their high horses about the life-enhancing qualities of weed vs. the soul-crushing spirit of spirits. In fact, one of the gravest dangers of Berlin's redeye schedule derives from the simple problem of pacing-- at least for those of us whose livers are accustomed to calling it a night at 4 a.m. (or even earlier, in the quasi-prohibitionist city of San Francisco). I wound up being introduced to A Guy Called Gerald somewhere around 7 a.m. on the morning after my arrival-- yeah, he's here too; it's probably easier to name the electronic musicians that don't live in Berlin than those who do-- and the most intelligent thing I could muster to say was "Erm, don't you work in Pier Bucci's old studio?" In Berlin, nine words and an equal number of vodka tonics are about all it takes to make a prime ass of yourself.

Of course, with clubs running almost around the clock, the city is almost an embarrassment of riches. In 10 days and nights, I managed to catch gigs, or at least parts of them, featuring Troy Pierce, Richie Hawtin, Magda, Matias Kaden, Oner Ozür, Butane, Alex Smoke, the Wighnomy Brothers, Thomas Melchior, Zip, Pier Bucci, Luci, Zip and Ricardo Villalobos, Phon.o, Modeselektor, Ellen Allien, Daniel Meteo, and Trentemøller-- and those are just the techno-related billings. At the same time, I had to take rain checks on Eats Tapes, Ilsa Gold, Like a Tim, Christopher Just, Phako, Jimmy Edgar, Jackson, Frivolous, Henrik Schwarz, Dandy Jack, Baby Ford, Andreas from Freundinnen, folks from Phonica London, Hawtin and Magda at a semi-private Sunday afterparty-- and those are just the techno-related misses I can remember, to say nothing of the bulk of the Club Transmediale festival, which as an invited panelist and DJ, was the ostensible purpose of my trip.

With a horizontal arc like this, techno's recent mutations, long and labyrinthine, begin to make more sense. Music evolves according to artists' and listeners' experience of it, and part of that experience is temporal. It's no wonder that first electroclash and now rock'n'roll-style DJing triumphed in the United States: when bars close so early, DJs have to pack in as many hits as they can, while clubbers keep pounding drinks in the dwindling minutes before last call. But when parties go as late as they do, and DJs are accustomed to playing four or five hours at a stretch-- the Wighnomys seemed almost sheepish when, the night of Vakant's Watergate party, they explained they would play for "only" three hours-- then 12-minute tracks begin to make more sense. With more time to stretch out, minimal techno's endless variations seem less like noodling and more like an exercise in time travel, a laptopper's update of the "eternal" music proposed by LaMonte Young, Tony Conrad, and their peers in that other minimalist movement.
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And perhaps the sheer quantity of DJs and clubs has something to do with the development of new strategies: When everyone is a DJ, and everyone's got a gig somewhere, you have to work harder to keep things interesting. So I don't think the reason so many people are using Final Scratch or Serato Scratch and incorporating loops and effects into their DJ sets is simply to jump on Richie Hawtin's digital bandwagon; in part, they're looking for their own edge. And when, if you're one of the bigger names in the scene, you find yourself playing two or three or four gigs a week, all across the continent, you have more time to try new things; you have to try new things simply to amuse yourself. Case in point was Zip and Villalobos' Club Transmediale performance, which began around 4 a.m. and sprawled until noon with a fevered crowd in tow. Armed with decks and laptops both, it wasn't a live set but it wasn't strictly a selectors' affair either, but a third way fusing others' records and their own loop libraries. Some of the times the schtick didn't work, but when Basic Channel came clanging in at +5 accompanied by an Arabic-language a cappella, you knew you'd hit paydirt. At their best, they achieved a perpetual state of pre-climax, dancers trading slo-mo, incredulous looks that said "Is this still really happening?" and everything bubbled at 124 BPM but moved at aquarium speed.

To answer another question: Yes, "minimal" is everywhere. There's so much of the stuff it's almost mindboggling: I'd dance for hours on end without hearing a single track I recognized. And the unlikeliest of characters are playing it: Ellen Allien is hardly a very minimal artist, and her DJ sets often go bang to the max, and yet there she was at 7 a.m. playing a track off Villalobos' hypnotic Achso EP. Even for a minimal evangelist like myself, sometimes you wanted to scream "Enough, already!" No wonder ILMers are talking about a "minimal backlash"-- whomever's buying all those dub and disco records at Hardwax, they weren't playing at the venues I visited.

Daniel Meteo, whose work for ~scape and his own, more downbeat-oriented Meteosound label would hardly leave him at a far remove from the minimal movement, decried the trend as engendering a kind of monoculture in Berlin, in which other forms of music fall to the wayside simply because promoters want to book only minimal acts because those are the only acts audiences will come out to see. Predictably, claims Meteo, as minimal becomes more hegemonic, the quality of the audience declines: fewer people come for the music, and more simply because the parties promise endless dancing and endless drugs. He seemed to have something: By 11 a.m. on a Sunday at Watergate, when the music had devolved from a sexier, housier skip to an almost proggy series of buildups and breakdowns punctuated by clipped percussion and Nth-generation acid bass lines, "minimal" in and of itself hardly seemed special any more; I longed for, well, just about anything else: März, This Heat, Scriabin...

But it's hard to be too pessimistic once you glimpse the sense of community that underpins the scene, whether it's promoters like Meteo (who, full disclosure, booked me-- albeit to play minimal) continuing to throw more leftfield parties, persevering but barely breaking even, or clubs like Maria that happily booked Club Transmediale, where the minimalists were outweighed by outsiders like Felix Kubin, Dick El Demasiado, Ove Naxx, and Volcano the Bear.

Even within the minimal scene, it's difficult not to be infected with a collective sense of enthusiasm-- or perhaps that should be an enthusiastic sense of collectivism. A visit to Luciano's studio in Kreuzberg, a stone's throw from Hardwax, revealed a salon atmosphere: Thomas Melchior was there, collaborating on a new track; the guys from Mobilee/Lan Muzic act Exercise One, who inhabit the studio next door, wandered through every now and then, munching on bananas; Guido Schneider dropped by to test out six new tracks for Poker Flat on Luciano's brain-scramblingly massive speakers. (The tracks themselves were pretty brain-scrambling as well, deep and sprawling and relentlessly funky, bristling with tiny little hooks and formal trapdoors. At one point, when a track went scurrying off exactly where you'd least expect it to go, you could hear a sharp intake of breath, not to mention a dizzy laugh or two, from everyone in the room.) By the time Jackson, another new arrival to the city, traipsed in and everyone headed off to dinner, it felt like the freaking Super Friends Hall of Justice in there.

More impressive than the mere presence of so many underground superstars was the sense of camaraderie and the apparent lack of competition. Genre-based music moves forward one minor variation at a time, and watching it happen in front of you-- allied artists comparing their daily research as peers, not rivals-- felt like peering through a microscope and seeing genetic engineering take place before your eyes, one splice at a time. Maybe jungle was like this, in its heyday, but I doubt it: Here was all the sense of collective effort, but with none of the guarded jealousy of dubplate culture.

But if an almost open-source ethic reigns in Berlin techno studios, don't let that fool you into thinking that the city is a utopia. The last morning there, as I was leaving Maria, I ran into a friend who had just been denied entrance at Panoramabar, Berlin's most famously anything-goes club (thanks in part to what I'm told is a gay, S&M vibe in the downstairs venue Ostgut, complete with a "darkroom" and rubber gloves available upon request). Deciding to give it another go, we taxied across town and trudged through the snow and mud to the door. As the doorman waved me through, he pointed a finger at my friend (who was neither poorly dressed nor fucked up, and is in fact one of Brazil's most important promoters of electronic and independent music). "Not him," he said. Why? There was no reason, and so we joined the other rejects outside to contemplate our next move. That's where we ran into L, a Berlin-based expat musician, who had also been given the bum's rush for no reason at all. Meanwhile, a steady stream of the trashed and underdressed stumbled through the door, with the occasional unlucky soul receiving the "eenie, meenie, minie, No" treatment. If I sound resentful, I am, but it's not a personal thing. Panorambar is known as one of Berlin's most democratic spaces, where even Richie Hawtin is shooed out from behind the DJ booth if he's not playing. There are no VIP rooms, no special treatment. To encounter, in a muddy parking lot in the dawn light, a door policy so mean-spiritedly arbitrary-- it had nothing to do with gay or straight, male or female, stylish or dumpy, sober or trashed-- signaled a darker side of the city's nightlife, libertinism giving way to illogic, where exclusivity itself is democratized by reserving the right to deny admittance to anyone at all, for no reason.

Or maybe the bouncer had just been awake for too many days in a row.

Philip Sherburne's writing and photographs can be found at www.philipsherburne.com.

http://pitchforkmedia.com/features/t...02-15-06.shtml
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Also this link has a couple of articles about two famous clubs, Panoramabar and Berghain.

Who has been to either??



http://berghain.fxb.de/log/node/57
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whoah, i really can't be fucked reading all that right now... maybe later tonight. someone post the thread about the coprophagia in berlin clubs, that'll either make or break your view of berlin nick.

i like the place alot as a city, so much history and culture, i can't say i know much about the scene there though.

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Dance to music? This is the techno forum - there will be no talk of such frivolity!

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I've been three times now, most recently over last new years for a week and a half.

Love the place. mostly because I have a lot of good friends there, the scene is fantastic, the record shops great, the gear shops off the hook!

Berlin is the capital of the music I love and one day soon I'm going to move there for a spell.
Back from the snow!
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Quote:

Originally Posted by nickid

Also this link has a couple of articles about two famous clubs, Panoramabar and Berghain.

Who has been to either??



http://berghain.fxb.de/log/node/57

I have been to Panorama bar - I thought Berghain is a club night at Panorama bar??
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Ok, just read the article. Berghain is the place downstairs.
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excellent read as usual from sherburne, the most knowledgeable and insightful music journo around. makes me feel thrilled but also sad that like-minded promoters in sydney struggle to fill venues
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I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening I'm not listening
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Quote:

Originally Posted by MidgetFidget

I'm not listening ...

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Quote:

Originally Posted by Dub DeLay

excellent read as usual from sherburne, the most knowledgeable and insightful music journo around. makes me feel thrilled but also sad that like-minded promoters in sydney struggle to fill venues

You forget that it is normal to see eg. Trentemoller, Dominic Eulberg, John Tejada at one venue in one night for EU$10 (AU$15). These 'likeminded promoters' have all these artists within arms reach, they don't have to pay international airfares and accom and thus the expense of showcasing these artists is a fraction of the amount Sydney promoters have to shell out.

Also, the decent venues in Sydney are all used for sh!t music, while underground music tends to end up in half-assed places with temporary sound systems.
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Quote:

Originally Posted by muse

You forget that it is normal to see eg. Trentemoller, Dominic Eulberg, John Tejada at one venue in one night for EU$10 (AU$15). These 'likeminded promoters' have all these artists within arms reach, they don't have to pay international airfares and accom and thus the expense of showcasing these artists is a fraction of the amount Sydney promoters have to shell out.

Also, the decent venues in Sydney are all used for sh!t music, while underground music tends to end up in half-assed places with temporary sound systems.

i don't forget this at all. i'm very aware of this. acutely aware in fact.
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We did Monolake and Andy Vaz for 15 on the door. The venue space wasn't totally ideal, but we had a decent (funktion one) sound system. It was pretty nail-biting though, and we scraped by with an extra 50 dollars for our trouble.

Bling?

I was having an interesting chat with a german recently who thought that Minimal in Berlin had sort of reached saturation point, particularly with nightlife and was starting to get stale. Interesting because he's the only person I've ever heard criticise Berlin's nightlife.

Which is great for me, because it makes me feel 100 times better for being stuck in melbourne listening to boogs clones play chicken lips records and billy jean basslines.:p
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Quote:

Originally Posted by MidgetFidget

We did Monolake and Andy Vaz for 15 on the door.

Thats pretty good....

They were 40 on the door in Syd.

Quote:

I was having an interesting chat with a german recently who thought that Minimal in Berlin had sort of reached saturation point, particularly with nightlife and was starting to get stale.

Well Sherburne seems to feel the same.

As they say, too much of a good thing...
'My sound is the sound of two sounds making warmth'












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thanks to having a german wife ive been about 9 times over the years, but not for a few years, my fav european city bar none
"Although it is not true that all conservatives are stupid people, it is true that most stupid people are conservative." John Stuart Mill
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Quote:

Originally Posted by thew

Thats pretty good....

They were 40 on the door in Syd.

it was $30 on the door and that wasn't even near a break even figure at full capacity
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Quote:

Originally Posted by MidgetFidget

I was having an interesting chat with a german recently who thought that Minimal in Berlin had sort of reached saturation point, particularly with nightlife and was starting to get stale. Interesting because he's the only person I've ever heard criticise Berlin's nightlife.

it's bound to happen
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I've been, i loved it, didn't spend enough time there!

Got to go to the final love parade, will nver forget that!
meet me in the cl0ud

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I think in a lot of ways we were lucky/stupid. Last time we did a Monolake show in 03 it was 20 on the door. You also have to keep in mind that Melbourne door prices are generally a fair bit lower than Sydney, from my experience.

Melbourne punters can be so tightarse, we used to charge $5 on the door for deep chord ad we'd still get heaps of people trying to scam their way in.
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Quote:

Originally Posted by Dub DeLay

it was $30 on the door and that wasn't even near a break even figure at full capacity

From memory it was advertised as being $40 on the door. Pre sales were sold at $30 (plus booking fee) and from what i can tell the price was dropped on the night.

I'm not having a go, i just think that $15 is a good price.
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Quote:

Originally Posted by thew

From memory it was advertised as being $40 on the door. Pre sales were sold at $30 (plus booking fee) and from what i can tell the price was dropped on the night.

I'm not having a go, i just think that $15 is a good price.

It is a good price, but in Sydney would have guaranteed a loss of several thousand dollars.

$0 is an even better price when you don't have to pay anything for the venue or the act.
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Quote:

Originally Posted by Dub DeLay

It is a good price, but in Sydney would have guaranteed a loss of several thousand dollars.

$0 is an even better price when you don't have to pay anything for the venue or the act.

Yes yes, i'm well awar of the cost diferentials in promotion and venue hire in the differing states. My hat is always tipped to thise with the balls to put on and promote gigs in this soul destroying city.

I simply intended on pointing out my amazement that they could get away with only charging $15 and still come out on top!

Hopefully with the suggested change in venue licensing laws we can see a shift in the tide...
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The Berlin phenomenon in deep electronic music has been mirrored in other places in the past. When you get a whole load of musicians all living in the one place and interacting musically every day the chances of the music becoming homogenised is greater.

The same thing happened in Seattle with grunge guitar music, and in Manchester with Madchester. I'm sure others can think of other examples.

I think working in some degree of isolation does have its merits in keep music fresh and full of new ideas. I'm not suggesting total isolation as interaction can be a good thing especially with regard to technology.

My impression is that Berlin is reaching or has reached saturation point in deep electronic music artists.
There is pleasure in the pathless woods,
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There is society, where none intrudes,
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I love not man the less, but Nature more.... Lord Byron
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Quote:

Originally Posted by thew

Yes yes, i'm well awar of the cost diferentials in promotion and venue hire in the differing states. My hat is always tipped to thise with the balls to put on and promote gigs in this soul destroying city.

I simply intended on pointing out my amazement that they could get away with only charging $15 and still come out on top!

Hopefully with the suggested change in venue licensing laws we can see a shift in the tide...

yeah, let's hope man... let's hope!
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Quote:

Originally Posted by Spitchen

The Berlin phenomenon in deep electronic music has been mirrored in other places in the past. When you get a whole load of musicians all living in the one place and interacting musically every day the chances of the music becoming homogenised is greater.

The same thing happened in Seattle with grunge guitar music, and in Manchester with Madchester. I'm sure others can think of other examples.

I think working in some degree of isolation does have its merits in keep music fresh and full of new ideas. I'm not suggesting total isolation as interaction can be a good thing especially with regard to technology.

My impression is that Berlin is reaching or has reached saturation point in deep electronic music artists.

Yeah true, except not sure I agree about the isolation. I found spending some time with Robert Hencke truly inspirational and it gives me real joy to read about the collaborative music production environment in Berlin. Some of my friends are collaborating with the Funcken brothers (Funckarma) and they are really growing from it.
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Quote:

Originally Posted by Dub DeLay

I found spending some time with Robert Hencke truly inspirational and it gives me real joy to read about the collaborative music production environment in Berlin.

Sure, but you're not living next door to him are you!

And yeh, its definitely great hearing about the collaboration in Berlin but I think it has a threshold level of collaborators above which artists music begins to sound homogenised. Its happening already if you ask me.
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I love not man the less, but Nature more.... Lord Byron
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Quote:

Originally Posted by Spitchen

Sure, but you're not living next door to him are you!

And yeh, its definitely great hearing about the collaboration in Berlin but I think it has a threshold level of collaborators above which artists music begins to sound homogenised. Its happening already if you ask me.

You have a point, but the releases you hear that come out of Berlin are not necessarily what is being heard in the clubs. I know that I struggle to find music which is anywhere near as cool as what I was listening to when I went out in Berlin.

I would definitely not use words such as saturated or homogenised.
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Quote:

Originally Posted by muse

You have a point, but the releases you hear that come out of Berlin are not necessarily what is being heard in the clubs. I know that I struggle to find music which is anywhere near as cool as what I was listening to when I went out in Berlin.

I would definitely not use words such as saturated or homogenised.

Perhaps all the cool music doesn't get released for some strange reason? :p

PS I'm finding loads of great music, its just that ive noticed the wade through the homogenised stuff has required more strength in the past 6 months or so.
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Quote:

Originally Posted by Dub DeLay

Yeah true, except not sure I agree about the isolation. I found spending some time with Robert Hencke truly inspirational and it gives me real joy to read about the collaborative music production environment in Berlin. Some of my friends are collaborating with the Funcken brothers (Funckarma) and they are really growing from it.

I'd love to see a collaborative spirit like that in Melbourne. We are getting there, with events like aLive (a montlhy all live-act day party).

I think one of the major reasons it happens in berlin is you can actually live off doing music (gigging or releasing) and failing that you can apparently live quite comfortably on their dole.
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as for homogenisation - all current techno and electronica suffers from a "repetitive canonical reportoire" (unfortunately i can't claim that phrase as my own). it's not peculiar to minimal or berlin, we are the victims of our own era really...
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i am going to berlin in 3 months time and i'm farkin excited! i could not give a shit if its reached "saturation point" cause i think it will be phenomenal...its the attraction as has been said here of seeing four or five of your favourite artists on the one night, and the partying for days on end that attracts me. I can't see it ending...it will change for sure...as everything does...but germany has been the mecca (or at least one of the meccas) of electronic music for far longer than this current minimal affair....

bring it on!!!

i love phil's articles - he gets away with wanking on about music in a way that is interesting and insightful like no other writer...always like reading his weblog...

x
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Quote:

Originally Posted by lunascape

i i could not give a shit if its reached "saturation point"
x

Me neither.

Funny how the point i was making somehow got warped into a 'I was bagging Berlin'. I wasn't.

The main point was that, as has happened in the past in many musical 'scenes' going back decades, the migration of many musicians to a city, all naturally keen to interact with each other, can result in a homogenisation of a sound or sounds.

I'd love to go to Berlin and party, it sounds like a great place to party!
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Quote:

Originally Posted by MidgetFidget

We did Monolake and Andy Vaz for 15 on the door. The venue space wasn't totally ideal, but we had a decent (funktion one) sound system. It was pretty nail-biting though, and we scraped by with an extra 50 dollars for our trouble.

I did a $10 show for Misjah and closed the door on the exact $10 that we broke even.

$50? You capitalist.
Gene Hoffmann at Tresor.Berlin [Sept 2014]
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Set & tracklist: https://soundcloud.com/gene-hoffmann...lin-3-sep-2014
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Quote:

Originally Posted by Psyentist

$50? You capitalist.

There is pleasure in the pathless woods,
There is a rapture on the lonely shore,
There is society, where none intrudes,
By the deep sea, and music in its roar:
I love not man the less, but Nature more.... Lord Byron
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Quote:

Originally Posted by Psyentist

I did a $10 show for Misjah and closed the door on the exact $10 that we broke even.

$50? You capitalist.

Well now you know where I got my ostrich feather trenchcoat, and my gold teeth.
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There's lots of money in throwing parties I've heard.

Millions to be made. Especially techno and minimal parties.
Gene Hoffmann at Tresor.Berlin [Sept 2014]
feat. Surgeon, Rrose, Untold, Kangding Ray, Blawan, Green Velvet etc...
Set & tracklist: https://soundcloud.com/gene-hoffmann...lin-3-sep-2014
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Quote:

Originally Posted by Psyentist

There's lots of money in throwing parties I've heard.

Millions to be made. Especially techno and minimal parties.

Tis true. Its the main reason I got involved in putting on these types of parties. I was told of the riches that would await me, the women that would love me, and the charlie that would ruin me... and that excited me!
There is pleasure in the pathless woods,
There is a rapture on the lonely shore,
There is society, where none intrudes,
By the deep sea, and music in its roar:
I love not man the less, but Nature more.... Lord Byron
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Quote:

Originally Posted by Psyentist

There's lots of money in throwing parties I've heard.

Millions to be made. Especially techno and minimal parties.

I want to float deep chord on the stock market, I'll make a fortune.
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Home > Forums > All about the Music > Techno / Electro / Minimal > Jovial sarcasm
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Home > Forums > All about the Music > Techno / Electro / Minimal > Jovial sarcasm > Witty Reply
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Home > Forums > All about the Music > Techno / Electro / Minimal > Make-Tuesday-comedown-bitch-comment-redeemed-by-Jovial sarcasm > Witty Reply
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PS - Danielle you are an utter bastard. very jealous.
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Quote:

Originally Posted by muse

Home > Forums > All about the Music > Techno / Electro / Minimal > Make-Tuesday-comedown-bitch-comment-redeemed-by-Jovial sarcasm > Witty Reply

big weekend huh? i took a sickie today haahahhaaa....yeah, i'm jealous of me that i am going....you've been before so you can no complain!!! x
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wow this is a good thread...

What I find amazing is that there can be so many artists playing to full floors. If you look at that list that Philip Sherburne provides, the amount of high-profile artists playing in the space of 10 days, where do all these clubbers come from?
I kind of understand where the artists come from. As I understand, the come from all over Europe, because of the cheap rents, public transport, Government culture grants, 'scene' and, as MidgetFidget tell us, the dole.

Has minimal, micro, techno become the 'funky house' of Berlin? Does the average 18 y.o. starting to see the nightlife go to these nights. Do students and fashion/ film/ education etc. workers go these nights/ buy the records. Is it the dominant genre in the city?


by the way, has anyone heard of this doco? Anyone go there?

"18/01/05 As part of the Flatpack January programme, the documentary Tresor Berlin will be on shown at the Electric in Birmingham on Saturday 21 January. This new production goes behind the scenes of the legendary Berlin club and will be preceded by music provided by from Sir Real (HOG) and an intro by the director Mike Andrawis. "
http://www.kamera.co.uk/news.php?newsID=26
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Quote:

Originally Posted by MidgetFidget

I'd love to see a collaborative spirit like that in Melbourne. We are getting there, with events like aLive (a montlhy all live-act day party).

I think one of the major reasons it happens in berlin is you can actually live off doing music (gigging or releasing) and failing that you can apparently live quite comfortably on their dole.

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Insert Berlin trivia here:

Did you know the first techno club in East Berlin (Ständige Vertretung) was started by an aussie and a pom?
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yes... I did
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The new "ost gut" is now called "Berghain". this cover the lower floor which is the "ostgut" and the upper floor which is called "panaorama bar".

I havnt been to the new place, but from what I hear its huge compared to the old place.

I stayed in Berlin for 4 months in 2002 + a short trip in 03 during the summers, and was lucky enough to play the old panaorama bar three times amongst other places. twice on sunrise and once at about 2am, I have to say it the most hardcore club experience I have ever played at. And scary at times beleive me....... lots of vodka shots, and they hand you comp drink cards like an entire stamp collection.

apart from the city becoming abit of a electttronic music lovers tourist attraction, i still think its the best city in the EU to live and visit. Rents are really affordable and public transport is ace. This summer if going to be REALLY hectic though.. try to go next year if possible.

some of my favorite places

panorama bar
sniper bar
club of the visionaire (recoveries every sunday, dj's ricardo,ritchi,tom clark,guido schnider,zip etc...) lots of fun
I hear "weekend" is great (only new)
Watergate (CAN BE ANNOYINGLY BUSY AND HOT)
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Weekend is ok, bit clean and fresh. Reminds me of a Sydney bar (eg. Industrie) but with more German house music.

My favourites:

Maria
Watergate
Panorama bar
WMC Summer residence
Polar TV

Best things about Berlin are the people, so friendly, welcoming and the biggest party animals in the world. Also very cheap beer and cheap cover charge to nightclubs (see above).

Only drawbacks - impossible to find either a poached egg or a good coffee.
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Just becareful who you pash on with in those dark german clubs...The legall drinking age is afterall only 16 years old ooops i mean
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