Interview for ROVR
Posted: February 19th, 2025 | Author: Finn | Filed under: Interviews English | Tags: Interview, ROVR | No Comments »
@ROVR Backstory
Posted: August 22nd, 2024 | Author: Finn | Filed under: Interviews English | Tags: Radio, ROVR | No Comments »Finn Johannsen – The Ransom Note Mix
Posted: May 19th, 2023 | Author: Finn | Filed under: Interviews English | Tags: Berlin, DJ Sprinkles, Front, Hamburg, Klaus Stockhausen, Paris, Pépé Bradock, Podcast, ransomnote.com | No Comments »Please introduce yourself… Who are you, where are you and what are you?
My name is Finn Johannsen. I live in Berlin. I am a DJ, writer, co- run the label Macro Recordings and I am a booker for the Berlin clubs Paloma and Monarch.
What does your music sound like? Can you draw what you think it sounds like for us (an image from the old internet is acceptable)?
I get bored quite easily, so I have no defined sound as such. But imagine an image of happy, nocturnal chaos. Take this example from a gig in Paris some years ago:
Where was the mix recorded?
In my studio/home office.
What would be the ideal setting to listen to the mix?
Late at night, heading somewhere. Or early in the morning, returning from somewhere.
What should we be wearing?
Whatever makes you feel good.
What would be your dream setting to record a mix: Location/system/format?
I love any setting that leads to a recorded set in which you can hear the people scream on the floor. But I also like to record a mix at home. In any case my way of playing records differs quite a lot between a live or studio context.
Which track in the mix is your current favourite?
All of them.
What’s your favourite recorded mix of all time?
Klaus Stockhausen live at Front Club, Hamburg, March 11th 1987.
If you could go back to back with any DJ from throughout history, who would it be and why?
It would be some great club in the 70s, where new ideas and great people fell into place. I am so old that I was out clubbing in all the following decades, but I was too young for that.
What was your first DJ set up at home and what is it now?
2x Technics SL-1200 MKII and an Ecler Smac first mixer. Mixer finally died last year and I replaced it with an Ecler Nuo. No, I am not an audiophile.
What’s more important, the track you start on or the track you end on?
Both are equally important.
What were the first and last records you bought?
First: Blondie – Heart Of Glass. Last: Al Kent – Loving You
If this mix was an edible thing, what would it taste like?
Fish & Chips at North Sea, Bloomsbury, London. Eaten in good company.
If it was an animal what would it be?
A night owl.
One record in your collection that is impossible to mix into anything?
None. All you have to do is to find another record that fits.
Upcoming in the world of…
Spending some beautiful time with my loved ones and good friends. And spending some beautiful nights wherever my professional activities will lead me.
Anything else we need to discuss?
What the world needs now is love, sweet love. It’s the only thing that there’s just too little of.
https://www.theransomnote.com/music/mixes/finn-johannsen-the-ransom-note-mix/
Freestyle Man – Love Story
Even Tuell & Midnightopera – Untitled
Claude Young – Dream Of Another Time
John Beltran – Return To Nightfall
Marty Bonds – Light Speed
DJ Sprinkles – Double Secret (No-Parts Dub)
Millsart – Gamma Player
Freedom Authority – Expressions (Flute Groove)
Fit Siegel – Carmine
Mr. Fingers – Children At Play
Omar S – Set It Out
Dreesvn – Untitled
Pépé Bradock – 4
Never On Sunday – Urban Rains
Family Of Few – Sunrise (4 A.M. Mix)
The Vision – Shardé
Subculture feat. Marcus – The Voyage (Hayden Andre Deep Mix)
Finn Johannsen – Artcast 127 & Interview
Posted: February 9th, 2022 | Author: Finn | Filed under: Interviews English | Tags: Alex Solman, Front, Interview, Jhelisa, Klaus Stockhausen, Kraftwerk, Radio, Stefan Goldmann, Torture The Artist, Underdog | No Comments »
Hello Finn, pleasure to speak to you. What did you have for breakfast today and what does an ordinary day your life look like in these times?
I made myself a sandwich with cheese and Salame Milano, with a bit of of French dressing. I did not start baking bread or similar. I am happy with what I can get at the supermarket, and I have plenty around. I am a nocturnal person, my daughter too. But as soon as she is asleep I often watch a movie or a series with my wife and when my wife is asleep as well, I head over to my study to work, listen to music or read. If I have no meetings scheduled the next day I do not have to get up that early so I mostly stay up late. Once I get up I fix myself a small breakfast, read the news and then start working again, correspondence or whatever else needs to be done. I try to have that finished until my wife and daughter come back from work and school, and then we have lunch. Then either work, homework and spending some time together. I did not get infected so far, but I am aware that it will happen eventually. I am not afraid of it and vaccinated, but I try to avoid it as good as I can because I do not want to spread it further. So apart from occasional meetings for work or with friends and getting necessary things for our household I am mostly staying in. I have read Joseph Heller’s Catch 22 yet again, and I agree with its protagonist Yossarian that there are plenty of people out there conspiring to kill me, and I am determined to not let them. To stay fit I use a rowing machine on a daily basis.
Speaking of “these times“, we are now almost two years in this pandemic, clubs open, clubs close, some have to close forever, some are able to survive, but nobody knows yet what price the scene, the clubs have to pay. How have you been keeping up with the ever-changing situation and how do you wish to be supported by the government in “these times“?
It is of course very frustrating. We worked very hard to keep Paloma alive, and when we were allowed to open again it felt like a reward for all our efforts. Then after just a few weeks it was all over again, and it was total letdown. I will not complain about the governmental support. It was kind of remarkable how chaotic it was organized though, and in many ways the pandemic also affected the previously indestructible myth of German efficiency very severely, but at least we had support, other countries were not as well off. Generally, I was not as optimistic as others about how the pandemic would progress, but I was very disappointed that this winter turned out to be even worse than the one before, especially because I feel that this situation could have been avoided by more timely and efficient measures. I was sure from the start of the pandemic that clubs would be way down the crisis management priority list, but I get angry when people not do their best to bring this to an end, and if it was only to show solidarity with others more affected by the situation. I was not exactly surprised that parts of our society would only care about their own good, but I was surprised to what extent. What optimism I had when the vaccinations began to roll out faded as soon as I realized that a good and necessary deal of the German population would refuse it. These days, I stick to the actual facts in the news that seem reliable and valid for how things will potentially develop, and I try to keep away from all the opinions flying around that do not help one bit to change this for the better. I do not want to discuss the pandemic anymore with people who mostly only display their own selfishness, or cowardice, or doubt, or fear. To fight a pandemic of this scale is a group effort, and I am really tired at this point of those that do not want to act accordingly. What effects all this will have is still speculation, as we are absolutely not through yet, but I am sure politics and the economies will eventually recover but there will remain a trauma, in terms of both physical and psychological conditions, and not anybody will be able to overcome it so soon. The price to pay? We all will pay a price. But better to pay a price than to die.
How does the uncertainty these days influence your booking behavior for the Paloma?
Well, you make the best of what you can do, and you try to act responsibly. We had to cancel a lot of dates, and when we learnt that we can open again we tried to catch up with all those cancellations first, instead of starting from scratch with everything. But we were expecting to open sooner, and when we could not do that we had to postpone and reschedule whole monthly programs, a process that we are unfortunately in again right now. But we were in constant crisis management mode since March 2020 and after all this time we would surely not give up now if we are not forced to do so. Of course there is also always some level of uncertainty when you book for a club, and now that level was quite enormous, but we are a good team and we prevailed, so far. It is frustrating that we also had to cancel some gigs again for now, but we will try to make them happen at a later point, which will be a challenge too. Other than that you also have to adapt in ways that you were not used to before. For example we priorized DJs that had no other income like a day job or similar, which was not a point before DJs had a regular income from playing out. Or we were very strict to meet all the Corona restrictions at the door, and bookings fell through because the DJs did not have the necessary documents to enter the club, and other DJs were not fully vaccinated or not intending to get vaccinated at all. The majority of DJs understood and respected that we were so strict though, only a minority did not. This also applies to our audience. Most guests were glad that we did our best to make our club as safe as possible, and brought up the patience for all the according door proceedings.
Following the question before, do you think that in general clubs’ bookings have or will change due to the pandemic and do you wish for a renaissance of the local DJs taking over club nights instead of international ones?
There was a divide in DJ culture in terms of fees and gig count before the pandemic, and I have this theory that it will grow. There are top tier DJs that fly around the world and earn silly money, mid tier DJs that can live from DJing, but with a certain level of uncertainty, and low tier DJs that already needed other sources of income before to make a living, with way more uncertainty. Now the low tier DJs switched to other sources of income for good because they had to, more than before. Either they were just starting out to get a reputation, or they were satisfied with just playing out. Of course the current situation is a blow, but they might be able to carry on, even if it requires to start all over again. The top tier DJs either did not interrupt their program anyway during the last two years, or they now benefit from the situation, because most bigger clubs are so in debt since closing that they probably play safe and book only headliners they think will guarantee a full capacity. In this case the mid tier DJs are worse off, because they are caught in the middle. They do not pull enough people to fill the bigger clubs and they are too costly for the smaller clubs. I really hope I am wrong, but as soon as the clubs could reopen last year, you could well observe this pattern. And this of course also applies to these hopes that the local scene will play a more vital role. Doors were open again, and you could often see that DJs were flown in again, the DJ middle class was kind of diminished and some local DJs did not get more than the function of a cheap filler. I do not really think that there will be a renaissance of local DJs. I suppose as soon as bookings can be regular again, most clubs will fall back to old habits, or even worse. Of course there are clubs like Paloma with a limited size and accordingly limited budget, and they will always book local talent because they cannot afford regular and costly travel logistics. But they do not determine the business, and they also might not be able to pay your rent.
When speaking of club culture in the northern hemispheres of Germany people speak of the “three Ps’ – meaning the Pudel club in Hamburg, Panoramabar and Paloma. In a nutshell, what unites these three nightlife institutions and ideally how can clubs cross-fertilize each other?
I must say that I have not heard of these three P’s in unison before, but I think it is rather flattering. Pudel and Paloma sure are comparable in some ways. Both have a hub function in their local scenes and support a local network and fresh talents, and their musical agenda is similar in terms of quality and content, the size is similar as well, as is the attitude, and both share the same graphic designer, the wonderful Alex Solman. Panoramabar sure is a different and bigger thing, and a whole other status, but I think what unites all three clubs is that they are all very special places. I had memorable nights in all three both as a DJ and as a guest and that is probably the most common denominator. The best way to use similarities is of course to work together, which we do, particularly with Pudel, with which we have regular exchange. But we do not only invite DJs from the Pudel network to Paloma, we also have nights with Panoramabar DJs, regular ones and residents. I have a whole lot of respect for both clubs, each in their own way, and I think we can all benefit from each other, and we do.
Let’s leave the club topic behind a bit. When speaking of you and looking at your vita the word versatile is basically inevitable. You DJ, you run the label Macro with Stefan Goldmann, you do the bookings for the Paloma and Monarch clubs, you used to write for various magazines and you worked at famous record store Hard Wax. How have all these different approaches to music helped you to overcome the past months and what’s your preferred field of working?
Well, music is just really very important to me. I listen to music every day, and even more in the last months than usual, which really helped me to stay sane. Everything I do for a living is connected with music, and as you mentioned I do and did a lot of different things. Music just makes me happy, and what makes me even happier is when I am able to spread music that I think is worth more attention than just mine. My preferred field of working is always the one that helps me to achieve that best. DJing was the first and is still vital in that aspect, the label allows me to explore ideas other than just my own, as does the booking. I do not write as much anymore as I did in the past, but if it is a good topic and I can find the time I still enjoy it. I could also support a lot of music at Hard Wax for some years, but I took up booking while I was still working at the store, and I had never done booking before, just getting booked myself, and at some point I realized that I could provide said support more efficiently with the booking, so I decided to leave. But it is all kind of in flux, and always has been. I have been fortunate about opening doors, so there might be another step in the future. But I am really very happy with what I am doing right now.
What two other attributes suit your character and how do they support the before mentioned field of working?
I would say I am curious. I can be very enthusiastic, but I also lose interest quite quickly. I can be quite thorough if I am interested enough. I do not like routine. All of these proved to be quite helpful in terms of creativity.
Coming back to your versatile being, musically you are also quite versatile. Firstly, would you say that musical versatility is something that comes with age as at some point people stop being as stubborn or nerdy? Secondly, what does the first thing you pay attention to when listening to new music and add to your “playlist“?
Hm, I am often suspected of being a nerd, my glasses do not help there, but I do not really feel like one. Of course I am aware that I know way more about music than the average listener, but for me that is a natural process. I just listen to so much music that it would be plain weird if I would not gather some knowledge about it. And I like to learn about the context of what I am hearing, and I can save the information in my memory, which is the same with literature or movies. The versatility sure is a result of both my wide interests, and my longterm occupation with being out to discover. As anybody else, I have some preferences, you can identify them all if you follow me, but I could never stop with what I already knew and then just maintain it. Basically I am open to anything in terms of creativity, if I investigate it and it is not for me I just move on to the next, but so far I never felt like stopping. Maybe that is the stubbornness you were suggesting, in my case. What I pay attention to first while at it is probably ideas, and a an artistic signature. Mostly I am hoping for something completely new to me, sometimes I am content with a fresh approach to things I already know and like.
Have you noticed a change in taste over the pandemic due to the fact that clubs were closed or open for not so long?
My listening behaviour patterns kind of strengthened. Even before the pandemic I listened to less club music, because it was all around me anyway. That kind of music did not quite solely become a commitment connected to work, but it was heading there. I began to reserve my time off work for other music, sounds that do not have to fulfill a purpose of being useful with what I am doing for a living. Apart from checking music styles I had not explored before I am also always willing to revise verdicts I made on some point about music I checked earlier on, or even whole genres. Sometimes you are not in the mood to get it, sometimes you are just ignorant, sometimes it does not feel right at the time. And taste should not be too static, else you just miss out. I do not mind if music clicks with a delay of even years, if it clicks. What I also had to notice is that the older you get the more you look to your past. I revisited some music of my youth, and it still clicked too.
What have been your three favorite musical findings over the past weeks?
1) German trap or drill music is much smarter than I thought. 2) I may read as many books about Krautrock as I can get a hold of, but I will never like the bulk of it more. 3) I will probably never have the patience for ambient music.
What has kept your relationship with electronic music passionate and what was one of the tracks that made you fall for it in the first place?
I love how much music that was created years ago still sounds like the future, and is still being processed. I am convinced at some point it will all implode and make way for something completely unheard of, and I am looking very much forward to completely not getting it. But I will sure try to. As for love at first listening probably I Feel Love by Donna Summer or Das Model by Kraftwerk, off the radio as a kid. Boring as it may be, I am old enough to claim that, though it probably was Popcorn by Hot Butter. Honourable mention: LFO. I used to claim in several heated debates that LFO was the first electronic music that really sounded like the future. I still stand by that.
What’s a musical extravaganza you’d pay for if money was not a thing?
It might be more an availability issue than money, but I would love to dance to Klaus Stockhausen at least one more time, all night long. Paloma would be a fine place for that, but any place would do. He is still the best DJ I ever heard, and I heard many.
Speaking of money, a lot of renowned artists played at the MDLBeast Soundstorm festival in Saudi Arabia a few weeks back. Does money deprave some people’s character that they play for controversial governments or is this simply the price the scene has to pay due to the pandemic development over the past months/ years? What is your opinion on that topic?
I think it is problematic to single out that event as an indicator for all that is wrong in club culture. Of course that festival was quite questionable, but then again so many events are, if you take a closer look. The more money is flying around the more it is likely that the source of the money is questionable. But it is a business. As long as there is a market for it, it will keep happening, and it happened before so many times, out in the open as with that festival, or not. I was surprised by a few names on the lineup, but I think on a certain level there just are some skeletons in the closet everywhere. Not that there are necessarily no or less skeletons on a lower level, mind. I must admit that it does not bother me too much, it is like a parallel universe for me. I know some people from earlier on who achieved that status, and they made their decision for success, and now they have a business to run and the according obligations, and others may need more and more money because they also spend a lot of money, for whatever. Of course this kind of circuit is decadent and the money is obscene, but there are so many alternative ways of doing events. If you feel this is depraved, you may support the other, or do your own. But you will find depraved characters everywhere you go.
Which of your morals could you never throw overboard or are non-negotiable?
I am no saint, and I made my mistakes. But I try to neither hide nor repeat them. But I am really allergic to hypocrisy, especially if it is a strategy.
After so many years in the scene/ business what piece of advice would give to your younger self?
Do what you really want to do, but do never behave like an idiot.
What’s a superpower you wish you had and how would you use it?
I would love to be able to make everything that is fun healthy. I would use it all the time, everywhere, and for everybody.
Original source: https://torturetheartist.net/2022/02/09/artcast-127-interview-finn-johannsen/
Black Moon – Reality (Killing Every…) (Instrumental)
Lord Finesse – Actual Facts (Instrumental)
Diezzle Don & Tha Governer – Hood Thing (Instrumental)
Kool Keith – Sex Style (Instrumental)
Heltah Skeltah – Place To Be (Instrumental)
Supernatural – Buddah Blessed It (Instrumental)
Paul Nice & Joey T. – Born Invincible
Diezzle Don & Tha Governer – So Now You Know (LP Instrumental)
Heltah Skeltah – Da Wiggy (Da Wiggstrumental)
I-Cue – Pass It Around
Group Home – Express (Instrumental)
Cocoa Brovaz – Drama (Instrumental)
Joanna Law – Love Is Not Enough (“We 3” Dub)
Krumb Snatcha – Gettin Closer To God (Instrumental Version)
Big L – Street Struck (Instrumental)
Shabazz The Disciple – Crime Saga Spiritualmental (Death Be The Penalty – The Sequel)
Fat Joe – Firewater (Instrumental Version)
Edo G. – Acting (Instrumental)
Finsta And Bundy – Sunnyside (Instrumental)
Black Moon – I Got Cha Opin (Instrumental)
Diamond & The Psychotic Neurotics – You Can’t Front (…It Is Real) (Instrumental)
Jeru The Damaja – Come Clean (Instrumental)
Mobb Deep – Extortion (Instrumental)
Biz Markie – Studda Step (Instrumental)
The Nonce – Mix Tapes (Instrumental)
O.C. – My World (Instrumental)
Showbiz & AG – Spit Beats
Mobb Deep – Blood Sport (Instrumental)
Smif-N-Wessun – Bucktown (Instrumental)
Trends Of Culture – Who Got My Back? (Instrumental)
Wisdom – All Star Jam (Instrumental)
Mobb Deep – Animal Instinct (Instrumental)
Rob Swift Feat. Cracker Jax – Nickel And Dime (Instrumental)
Smif-N-Wessun – Let’s Git It On (Instrumental)
Smif-N-Wessun – Wontime (Instrumental)
Major Stress – Stuy Beats (Instrumental)
Goodie Mob – Goodie Bag (Instrumental)
O.G.C. – No Fear (Instrumental)
MC Shan – Shan & The Queens Connect (Instrumental)
Special Ed – Freaky Flow (DJ Premier Remix) (Instrumental)
Heather B. – If Headz Only Knew (Instrumental)
Pizzicato Five – This Year’s Girl #2
CRU – Wreckognize (Instrumental)
Jhelisa – Friendly Pressure (Cool Breeze Instrumental)
China Black – Searching (Heavy Tactic Dub)
Mad Doctor X – Believe In Your Stealth
Jesus Loves You – One On One (Massive Attack Dub)
Bassline Feat. Lorraine Chambers – Back To Bass-ics
Lord Finesse – Hip 2 Da Game (Instrumental)
Edo G. – Dedicated (Instrumental)
Erick Sermon – Welcome (Instrumental)
Smif-N-Wessun – Stand Strong (Instrumental)
Concrete Mob – Boiling Point (Instrumental)
Masta Ace Incorporated – Sittin’ On Chrome (Instrumental)
Group Home – Supa Star (Instrumental)
King Midas Sound – One Ting (Dabrye Remix)
Fresh 4 – Smoke Filled Thoughts
Method Man – All I Need (Razor Sharp Instrumental)
Wu-Tang Clan – Can It Be All So Simple (Instrumental)
K-Otix – 7 MC’s Pt. II (Instrumental)
Lord Finesse – No Gimmicks (Instrumental)
Showbiz & AG – Full Scale Beats
Just Ro – Confusion (Instrumental Version)
The Pharcyde – Y? (Be Like That) (Jay Dee Remix Instrumental)
Ras-T – Ill Nig (Instrumental)
Imam Thug & Tragedy Khadafi – The Bridge 2000 (Instrumental Mix)
Mad Lion – Double Trouble (Remix Instrumental)
Rock The M.C. – Don’t Stop The Hip Hop (Dub Instrumental)
Warren G – I Shot The Sheriff (EPMD Instrumental)
Five Deez – Time Is Night
Paul Nice & Joey T. – Dance Of The Drunken Mantis
Big Willie Smith – Keep It Real…Represent ’96 (Inst.)
Spooky & Billie Ray Martin – Persuasion (Inward Mix)
The Brotherhood – Mad Headz (More Edz Remix) (Instrumental)
Stereo MC’s – What Is Soul (Instrumental)
Dr. Octagon – Earth People (The Earth Planet Mix)
Shabazz The Disciple – Conscious Of Sin Spiritualmental
AZ – Uncut Raw (Instrumental)
Brothers Of The Mind – Rough & Tough (Nitetyme Instrumental)
Big Noyd Feat. Mobb Deep – Recognize & Realize: Part 2 (Instrumental)
Shara Nelson – Inside Out (Underdog Mix)
M People – Search For The Hero (Smith & Mighty Dub)
Leta Davis – Joey’s Groove
KRS-One – Questions & Answers
Mobb Deep – Survival Of The Fittest (Remix Instrumental)
Heather Park – I Miss You b/w Shook Ones
Mobb Deep – Give Up The Goods (Just Step) (Instrumental)
Gabrielle – Because Of You (Delta Dubwize)
Goodie Mob – Soul Food (Album Instrumental)
Ice-T – The Tower (Album Instrumental)
Dan Wicked – Puerto Ricans On The Rise (Original Street Version)
Five Deez – Chilly Most (Instrumental)
Reborn – Right To Be (Epic Mix)
Smith & Mighty – Anyone… (Dub Mix)
Massive Attack – I Against I (Instrumental)
Lenny Dennis – Lovin’ You
LL Cool J – Pink Cookies In A Plastic Bag Getting Crushed By Buildings (Remix Instrumental)
Latin Alliance – Know What I’m Saying (Pal Joey Instrumental)
Ice-T – New Jack Hustler (Stress Mix)
Chill Rob G – The Power (Instrumental)
Company Flow – Infokill (Instrumental)
Micranots – Exodus (Instrumental)
Vordul Mega – Neva Again (Instrumental)
Mobb Deep – Get Away (Instrumental)
Nick Wiz – Darkside beat 84
Deltron 3030 – Things You Can Do (Instrumental)
Dr. Dooom – I Run Rap
Vakill – Flows U Can’t Imagine (Instrumental)
Nick Wiz – Fall Back
Pete Rock – Walk On By beat
D.I.T.C. – The Enemy (Instrumental)
Showbiz & AG – Time For (Instrumental)
Masters Of Illusion – Back Up Kid
Dr. Dooom – Apartment 223
Kool Keith – Sly We Fly
Showbiz & AG – Stand Strong (Instrumental)
Chubb Rock – The Mind (Instrumental)
Kool Keith – In Your Face
Pudgee – King Of New York (Instrumental)
Lord Finesse & O.C. – Ya Better Recognize (Instrumental)
Ghostface Killah – Camay (Instrumental)
Tragedy Khadafi Feat. Capone – True Confessions
Freestyle Fellowship – Can You Find The Level Of Difficulty In This? (Instrumental)
Showbiz & AG – You Know Now (Instrumental)
Dr. Dooom – Neighbors Next Door
Showbiz & AG – Ain’t No Fun (Instrumental)
Analog Brothers – 2005 (Instrumental)
Mobb Deep – Party Over
Stieber Twins – Hash
Stieber Twins – Fahrenheit 72 (Instrumental)
Dilated Peoples – The Main Event (Instrumental)
Cora E – Next Stop New York (Instrumental)
Stieber Twins – Allein Zu Zweit (Instrumental)
Cora E – Hip Hop Gibt Mir ‘N Titel (Instrumental)
Nick Wiz – Still Low
Mobb Deep – Eye For An Eye (Instrumental)
Kool Keith – Plastic World
Analog Brothers – Analog Annihilator Vrs Silver Surfer (Instrumental)
Mobb Deep – Right Back At You (Instrumental)
GZA – I Gotcha Back (Instrumental)
Showbiz & AG – Check It Out (Instrumental)
Dr. Dooom – Leave Me Alone
Kool Keith – Still The Best
Cora E – Tracks Ohne Refraingesänge (Instrumental)
Lootpack – Lost Art (Instrumental)
Cora E – Lügen… Ihr Kriegt Mich Nie (Instrumental)
Aceyalone – Microphones (Instrumental Version)
Stieber Twins – Tausend MCs (Instrumental)
Asheru And Blue Black – Dear You (Instrumental)
Mobb Deep – Trife Life (Instrumental)
Clipse – Mr. Me Too (Instrumental)
Masta Ace Incorporated – Livonia Ave.
GZA – Cold World (Instrumental)
Mobb Deep – Q.U. Hectic (Instrumental)
7L & Esoteric – Operating Correctly (Instrumental)
Killarmy – Street Monopoly (Instrumental)
Showbiz & AG – Under Pressure (Instrumental)
All Natural – The Return Of The Avenger (Instrumental)
Nick Wiz – The Melody
Masta Ace Incorporated – Bellmont Ave
Foreign Legion – Full-Time B-Boy (Instrumental)
Deltron 3030 – Virus (Instrumental)
Mobb Deep – Where Ya Heart At
The Roots – In The Music (Instrumental)
Masta Ace Incorporated – Pitkin Ave.
7L & Esoteric – Mic Mastery (Instrumental)
Masters Of Illusion – Time 2 Get Right
Masta Ace Incorporated – Sutter Ave.
One Be Lo – Decepticons (Original) (Instrumental)
The Unspoken Heard – Nigga Like Me (Eye Level Instrumental)
Masta Ace Incorporated – Stone Ave.
Lone Catalysts – 3 Yrs (Instrumental)
Mobb Deep – Let A Ho Be A Ho (Instrumental)
Masta Ace – Don’t Understand (Pump It Like This) (Instrumental)
D.I.T.C. – Internationally Known (Instrumental)
Grand Agent – Know The Legend (Instrumental)
Mobb Deep – Adrenaline (Instrumental)
Masta Ace – Good Ol’ Love (Instrumental)
P.O.S. – Crispin Glover (Bonus Instrumental)
Masters Of Illusion – U Want Freestyle?
Lupe Fiasco – Dumb It Down (Instrumental)
Smut Peddlers – That Smut (Instrumental)
DJ DSL – Coming With The Sound
Mobb Deep – Quiet Storm (Instrumental)
Slum Village – Get Dis Money (Instrumental)
XLR8R Podcast 676: Power House (Finn Johannsen & DJ Pete)
Posted: December 29th, 2020 | Author: Finn | Filed under: Interviews English | Tags: DJ Pete, Hans Nieswandt, Interview, Jeff Mills, Masters At Work, Paloma, Pépé Bradock, Radio, Stefan Goldmann, Surgeon, XLR8R | No Comments »
What have you both been up to recently?
Finn: Mostly spending as much time as possible with my wife and daughter, family and friends. I have been constantly DJing and working on a lot of other things for years and years and I used this unexpected time off to take a break, but I am also catching up with all the books and films I gathered for some occasion, and other interests I had to neglect due to too little time or too many distractions. Else I have not played a club gig since March. As I am a seasoned DJ I sometimes wondered how it would feel to retire at some point, and I guess I know now, and I realized that I am not yet ready for it. I still buy as much music as I can still afford, and I do radio shows and podcasts with it, and I try to be up to date with what is still happening. Generally I try to act as responsible as I can in this situation and make the best of it.
Pete: My girlfriend moved in and we used the unexpected time off to settle down. I am also still working at Hard Wax once a week, and I practice my daily Yoga routines. As far as DJing is concerned, I played a few open air gigs that met the necessary regulations. But only until the beginning of November.
How has lockdown been for you both?
Pete: I could never really develop some kind of lockdown routine. It just felt just too absurd to spend most of your life indoors, in your own space. Like not being able to meet friends where and when you want, to visit a restaurant, cultural activities, and so on. But we try to adapt to it, and make the best of what we can still do.
Finn: A lot of what I have been doing for decades fell apart within a very short time, and that was quite frightening. But Macro, the label I run with Stefan Goldmann, did not stop, and most importantly I did not have much time to brood over the situation as Paloma, the club I have been doing the booking for in the past few years, shut down in March and pretty much instantly went into crisis management mode. We organized a successful crowdfunding campaign, a series of exhibitions, a quarantine podcast, fashion items and set up a label, and we are constantly thinking about other ideas to keep the club going and support our network. So thankfully I was quite busy, and I still am. Hopefully this will keep up until things swing back into action, and I kind of ignore the possibility that they might not.
Which artist and/or labels have caught your eye recently?
Finn: I was quite happy with the way UK Garage came back, there is a lot of interesting fresh new stuff on labels like Instinct, Dr. Banana, Vitamin D, and many others. On a disco tip I think Javi Frias, Snips, Very Polish-Cut Outs and the Sound Metaphors camp are doing mighty fine edits, and in terms of house music I think labels like Must Be On Wax, Blaq Numbers, Random Mind State, or Distant Horizons are well worth checking out. As a quite loyal soul I still cling to artists like Jeff Mills, Nature Boy, Kai Alcé, Dave Lee, Hanna, Boo Williams, Pépé Bradock and friends like Dynamo Dreesen, SVN, SW., Fett Burger, Lowtec and the whole Workshop posse, they all keep on delivering. But, as many others, I spend more time with music at home now, and there I am mostly listening to old soul music and new hip hop, and according mentions would definitely blow up this frame.
Pete: I still dig what old friends are doing, like Sleeparchive, Shed, or Surgeon. I also enjoyed current releases by Ploy, the Zenker Brothers or Leibniz. The recent albums by Autechre and Actress also really blew me away.
With clubs closed, this period has been difficult for DJs. What do you make of the government’s response?
Finn: Well, this period has been difficult for almost anybody. In hindsight a lot of decisions how to handle the pandemic were obviously too late and probably too hesitant. The virus hit hard because practically only few goverments were at least a bit ready and well equipped to handle such a situation, and more often than not they were simply overwhelmed with the quick rise of infections and how it affected the whole system. Some countries were run by incompetent politicians that had no real clue how to answer it, and still have not. The fact that there were so many populists in charge sure did not help either, and that hey had so many supporters that believed them. Rather expectedly the cultural sector was the first to go down, and will probably be the last to come up again. But we are also aware that Germany was not affected as badly as so many other countries. There were fundings and help programs early on, where in a lot of other countries people in creative professions were just left in the cold. But we understand if people in said professions get frustrated with how financial help is distributed, or when they get official advice to work in other fields or to apply for unemployment benefits, because what they have been doing for all their lives is just way down on the priority list. And on top of it there is the threat that many institutions and locations will just vanish, and nobody knows how they ever will be replaced, if at all. It is important to keep all this alive, but it is also important that the ones demanding support step out of their bubble and ask themselves if what they want to keep doing is a potential threat to many others right now. The virus is just very contagious, there is no cure as of yet, and reason and patience are key.
Where and when did you record this mix?
Finn: The mix was recorded live at Paloma on the evening of October 16th this year, using our usual setup of two turntables, a TR-909 drum machine, and a delay unit.
Can you talk about some of the artists that you’ve included?
Pete: A Power House night is a perfect opportunity to play music by artists I have really internalized over the years. With the selection for this set I wanted too express my love for Detroit music, as I often do. But in the process of preparing a Power House set I also often discover certain artists all over again. This time that was the case with Eddie Flashin’ Fowlkes.
Finn: In the past we often dedicated Power House nights to certain topics, but this time I just wanted to play some records that I had not used yet. In my case it turned out to be mostly pumping US 90s house, just because I was in the mood for it. The sound of these records is quite representative for what I play when I opt for that direction, and the overall sound was also more vital than the individual artists. But of course you can hear some people that often pop up in the Power House canon, like Masters at Work, Tony Rodriguez, Eddie Perez, the Melillo brothers, Jason Nevins, Scott Kinchen or Eddie Maduro. Shout out to the La Mona family in France for providing a rather obviously fitting intro track, and Hans Nieswandt, who gave the fledgling Paloma imprint a glorious unreleased track from the 90s that is just working hard. As for the outro, you have to keep in mind that Power House nights at Paloma usually go on for eight hours, and the last bit is often reserved for early morning bliss and odd ones out, and here we condensed it a bit. The Blaze acapella is blowing a kiss to our beloved crowd, we indeed were wishing you were there, and the last record is a kind of relief ending, and I cannot tell more about it than that it is a Japanese record I found in a cheapo bin and I loved it ever since.
What made this mix so memorable?
Finn: Playing music together again, and doing it where it all began, and like we always do. Of course we missed our dancers, but it felt good to realize that our dynamics can be activated in any context.
Pete: I wallowed in the memories quite a bit. Our nights together offered so many, and it all came back. Finn is a friend, and a selector capable contantly coming up with musical surprises. We swing each other up. And it felt great being able to use our setup of the delay unit, and mixing my live 909 beats with Finn’s acapellas. That combined makes it even more fun, and I think you can hear that.
Theory Therapy 10: Finn Johannsen
Posted: June 23rd, 2020 | Author: Finn | Filed under: Gigs, Interviews English | Tags: Berlin, DJ Sprinkles, Interview | No Comments »
How are you today?
I am fine, thank you. My daughter will be home from school soon, and she had a test today, for a cycling license. She was very excited about it and I hope it all went well. Else I am pondering what we will have for lunch today, and I am thinking about fresh ideas to save Paloma, the club I am booking here in Berlin. Later my wife will be back from work and we will have some time together before I will meet a good friend, and I am thankful that such simple things are possible again. But right now I am listening to music and reading the news.
Can you tell us a little bit about the mix? What were you feeling when you made it?
I was actually playing two gigs in Melbourne and Sydney in March when the virus basically took my whole life apart back home on the other end of the world, which was very surreal and confusing.
I always loved playing this kind of sound, but a main reason to fully indulge in it again was my closing set at Inner Varnika two years ago where I ended the festival on this tip, and the result was a beautiful and lasting memory for me, and apparently many others. So there was a connection that came to my mind when you asked me. That, plus I feel too uncomfortable at the moment playing a club set like nothing happened.
What I felt while actually mixing it? Gratitude for all the good times I had, the good music I found on the way, and the fine people I could share it with. I was feeling a bit hopeful too.
Where did you record the mix?
At home, on a bright morning last Monday.
What would be the ideal setting to listen to the mix?
I really had none particular in mind. I am honestly not sure how the situation affects the way people listen to music, or if that has even changed. Ideally, it stills works in various settings, and it may succeed in making them more enjoyable.
Are there any tracks you’ve used in the mix that are special or significant to you?
Rather expectedly I love all the tracks I used, but being a bit older I always loved Paul Rutherford, and I realised I never had the opportunity to include this record of him crooning about the moon. So thank you!
What’s on the cards for 2020?
I was at the movies in 1992, watching “Sneakers”, and when every member of the team was asked to make a request in return for the decryption chip, Whistler said, “I want peace on earth and goodwill toward men.” That’s all I ask, too.
Black Seeds – Cool Me Down
Epo – Koino Hito Hira
Natalie Williams – This Girl
Lindy Layton – Wait For Love
Keni Burke – Risin‘ To The Top
Lisa Stansfield – Never, Never Gonna Give You Up
Cheyenne – No Number 1
YBU – Soul Magic
Nikke Nicole – I Believe
Paul D.C. – Unofficial Business
Paul Rutherford – That Moon
Marvellous Marvin – What‘s Going On
Kyoko Koizumi – Yo-Ru
Loose Ends – Love‘s Got Me
Temper Temper – Talk Much
Salt-N-Pepa – Express Yourself
Marissa – Love Is Just A Game
Anthems: Unit, Hamburg (1989-1999)
Posted: November 25th, 2019 | Author: Finn | Filed under: Interviews English | Tags: 808 State, Berlin, Boris Dlugosch, Electronic Beats, Front, Hamburg, Tobias Lampe | 1 Comment »
When the first Unit club opened in Hamburg in 1989, it was embraced as an alternative to other places that ran on tighter curfews and were often in less central locations. Unlike Front, the pioneering club that introduced house music to Germany—and arguably continental dance floors—, the first Unit at Talstrasse was right in the middle of one of one of Europe’s biggest entertainment areas, notorious red light district around Reeperbahn, and because of this its parties could last longer.
At first, the music at Unit was no different to what was played elsewhere around town—a typical post-acid house boom mix. Soon though, the resident DJs like Gary D, Tobias Lampe and Henry, and the booked national and international guest DJs, shifted towards techno and later trance, and Unit became a leading light in establishing and pushing these sounds further alongside other national mainstays in Berlin and Frankfurt.
The first Unit space had to close in 1994 due to increased crime in the area, but it reopened the same year as Unit II in a temporary location also close to Reeperbahn, before Unit III settled in an old factory space in another district. But as the club grew bigger in size and ambition, the crowds did not follow suit, and Unit closed for good in 1999. We asked DJ Tobias Lampe for a list of records that made the first Unit incarnation and his and Henry’s residency, called Pure Energy, such a lasting memory.
A Homeboy, A Hippie & A Funki Dredd, “Total Confusion (Heavenly Mix)” (Tam Tam Records 1990)
“This is one of the early anthems at the club, which I think was also already heavily played by the first Unit DJs Pari D and Double UMF. The early years were actually very open minded. They played a mixture of house, hip hop, techno, even downtempo beats and a style called hip house. And it mirrors pretty much how it was working in the UK as well, this period when nobody at the rave had bad feelings about having 808 State, Snap, Frankie Bones, Orbital and Guru Josh all on the same stage.”
Foremost Poets, “Extended Sight Version (Foresight Version)” (Nu Groove 1990)
“I guess I first heard this magic piece when Boris Dlugosch played it at the Front club. Hard to explain why, but it certainly always created this magical, intense atmosphere, both at Front and at Pure Energy on Fridays, where Henry and me played this track nearly every week. Few other tracks can capture the feeling of the time so intensely—back then it was led by house and techno music from London, New York City, Chicago and Detroit. Front club was immensely influential, as well as the Friday shopping trip to the Container Records store, which imported all the music directly. As Boris Dlugosch played less and less techno at Front, we tried to play and represent all facets of it at Pure Energy, and especially techno from Detroit.”
Mental Mayhem, “Joey’s Riot” (Atmosphere Records 1990)
“Particularly in New York City, labels like Nu Groove and others were releasing music that sounded like both house and techno. We celebrated exactly these hybrid sounds and in hindsight this may have been what Hamburg was always about. Always open-minded and somehow in between. We were obviously trying out all kinds of sounds at that time. We played pretty hard banging techno and early trance, but at the core of what we played was always what we called tech-house. This prime goose bump example of the tech-house sound we loved was produced by Joey Beltram, who for us was one of the leading New York producers in this field.”
Format, “Solid Session” (ESP Records 1991)
“This Orlando Voorn one was a what we called a Voll-Brett. Brett means plank, it’s a term used for particularly efficient floor fillers—we adopted this language from the Frankfurt scene. It’s a sure shot that always makes happy faces in the club. It was one of the obvious anthems, at least for our nights.”
The Hypnotist, “Pioneers Of The Warped Groove” (Rising High 1991)
“We organized bus trips from Hamburg to the first Mayday festival and Love Parades. I still remember we spent three days setting up the first Break The Limits Rave at Kasematten/Deichtorhallen in Hamburg, and after we were done partying, we took down everything and then headed towards Berlin for Mayday in a bus packed with Hamburg ravers.
Henry and I were so exhausted that we had to cancel our Pure Energy gig there, and instead we partied on as best as we still could. And then, at some point, The Hypnotist got on stage, and they threw hundreds of green glow sticks into the crowd. The lights and fog did the rest.
The scenery at Halle Weissensee was magical, and then the music came on. It simply blew me away how many musical influences they could bring together. Trance was not a musical term for us then, but if you apply it to a state of mind The Hypnotist probably was the act that nailed it down best, particularly at that gig. Of course, we couldn’t help it, and felt the urge to celebrate these tracks at Unit, ideally from 4 a.m. onwards.”
Ramirez, “La Musika Tremenda (La Tormenta Mix)” (DFC 1991)
“Ramirez produced at least two masterpieces of early tech-trance (which is what we later called this style), and this is one of them. I do not know how to describe it precisely, but the track had this subliminal dirty touch, and when I hear it, I will forever think of sweat-drenched ravers, flickering strobe lights, thick fog and the experience of walking out into broad daylight after partying. This track was always the one to mobilize the last reserves.”
Golden Girls, “Kinetic (Frank De Wulf Remix)” (R&S Records 1992)
“In this list, I’m also trying to illustrate how a lot of different scenes and circles from different parts of the world created this magical universe of sound we enjoyed at that time. This is a perfect example of the influence of the Belgian sound. I still think that Belgian and Dutch music’s influence has always been under rated. This one was a huge and surefire banger at Unit.”
Vainqueur, “Lyot (Maurizio Mix)” (Maurizio 1992)
“This track is emblematic of the influences of Berlin and Detroit to our sound. The Berlin/Detroit axis was in early progress at that time, and we took pilgrimages to Berlin to find this sound at Hard Wax and Delirium. We partied to it at Tresor, Teknozid and Planet, but also at Hamburg’s Front club, before the first Unit opened. For us, Basic Channel’s discography offered the first serious releases from Berlin, even in terms of techno. I think we also believed Maurizio was someone from Detroit. The minimalistic, dubbed out and darker aspects of techno, tinged with some references to EBM, played an important role at Unit. Actually my first night at Unit was on a Wednesday and it was called Tekkno Club, with two k, of course. It was more dedicated to EBM, Dark Wave and Acid, and then it opened up to the influences from over the pond, UK, Berlin and Frankfurt.
Vapourspace, “Gravitational Arch Of 10” (Plus 8 Records 1993)
“I cannot recall where I first heard this, but I remember how blown away I was. Since then, I wanted to share this feeling, and it was played at least twice a night. I also remember we played around with switching out the lights out and blasting the fog machine before the kick drum came in, and it always led to incredible screams from the dance floor. Not much later, Henry and I promoted the Plus 8 night with Vapourspace live alongside DJ sets by Richie Hawtin and John Acquaviva. We were pretty amazed by his analogue live set extravaganza.”
Marmion, “Schöneberg“ (Superstition 1993)
“Henry and I were doing the Pure Energy night every Friday at Unit. We hosted probably all the relevant names at that time, from Derrick May to Sven Väth. It was such a small scene in a few German cities in those days that we all felt a bit like family. Early friends from our rave travels to Berlin, Frankfurt and Munich were, for example, Mijk van Dijk and Marcos Lopez, who gave me this Berlin production as a demo a few days after a gig at Unit. This EP and track actually became one of the milestones of Superstition Recordings, the label I just had founded three releases ago. Especially this fourth release earned the label and both producers a huge international following. And the track is what I call a perfect combination of house and techno elements; it’s a real techno house classic.
Anthems: Soju Bar, Berlin (2010-2013)
Posted: May 31st, 2018 | Author: Finn | Filed under: Interviews English | Tags: Berlin, Daniel Wang, Electronic Beats, Hunee, Idjut Boys, LoSoul, Mark E, Michael Kummermehr, Nicolette, Panorama Bar, Prosumer, Soju Bar, Todd Terje | No Comments »
In the early to mid-noughties, minimal techno and tech house were ruling most of Berlin‘s dance floors, but there also was a vital scene dedicated to playing records that were not played at most other events in town. Seasoned disco and house DJ legends were invited, and often reactivated to display their experience and skills, and local and international DJs established a network dedicated to digging deep for the more obscure and leftfield sounds of club culture, and turning them into intense and vibing events with their finds of vintage house and disco, italo, post punk, afro, latin, balearic, yacht rock and even more specialized niches. The daring and knowledgeable eclecticism of this scene established an openness that inspired more current music productions and is still around in club and festival lineups, and even led to DJs like Hunee and Call Super becoming celebrated A-listers. From 2010 to 2013 the club Soju Bar was Berlin’s main spot for this context of night life. It was located in the backroom of the Korean street food bistro Angry Chicken, which belonged to the restaurant Kimchi Princess around the corner. The club’s sound system was way above average, and the room was decorated with loving attention to detail, an impressive replica of Korean bar culture that made the room appear puzzingly bigger than it actually was. Hyun Wanner, one of the Kimchi Princess owners who was on par with his DJs in terms of music enthusiasm, booked Soju Bar’s tasteful program until the club had to close and became a part the hotel that already took over most of the building. We asked him to revisit resident and regular guest DJs via music that he associated most with their nights.
Hunee: Shina Williams & His African Percussionists – Agboju Logun (Earthworks, 1984)
This record turned into a huge Soju Bar hit. It was just the time when more and more DJs started to flavor their sets with African influences. I think it is a trademark element of Hunee’s sound these days. Another regular Soju Bar DJ called Nomad, now of Africaine 808, went completely down that road. I love this record. I bought it years before Soju Bar, because my favorite Discogs dealer recommended it to me and offered me free shipping if I buy it. I was very pleased when Hunee played it the first time. I think he still plays it today.
Lovefingers/Lexx: Carrie Cleveland – Love Will Set You Free (Cleve/Den, 1980)
My girlfriend at the time was obsessed with that song. She knew that it was on Lovefingers’ blog and made him play it at least three times. I remember Andrew playing it two times in a row early in the morning and dancing on the floor with his eyes closed. Lexx had to do the same a couple of weeks later. This was one of these classic early morning magic moments. Sometimes there was only 15 people left in the place, but they had the time of their lives!
Joel Martin (Quiet Village, Velvet Season & The Hearts of Gold): House Of House – Rushing To Paradise (Walkin These Streets) (Whatever We Want Records, 2009)
When Soju Bar started everything was really disco and balearic. Then most DJs started to pick up more and more housey vibes again. It was almost a bit like going through the history of dance music in one and a half years, and a few subsequent decades. This record contains all this history. I have funny memories of this track. For example, it was an incredible hot night and it was really empty, but the few people were dancing for hours and didn’t want to leave. Joel was the only DJ and already played 6 hours for the same 15 people. When he was playing this track a random very young girl with a record bag came up and wanted to take over. She promised us to play the same kind of music: HOUSE! We were like, OK! Well, she had her very own definition of house music I reckon! Two records later Joel and me were in a Taxi home. She went on for a few more hours, and I have never seen her again. By the way, it was first hour Soju Bar resident DJ Filippo Moscatello who introduced me to this record.
I will change. I promise.: Ideal – Schöne Frau Mit Geld (Losoul Remix) (Live At Robert Johnson, 2010)
This was definitely the residency with the best name. “I will change. I promise”. I was promising this to myself pretty much every Monday morning! This party was hosted by our friend Alex van der Maarten and was musically on a slightly different trip, but very successful and always busy. It had guest DJs like Nu and Lee Jones. This was one one of the signature tracks.
JR Seaton (Call Super): Bunny Mack – Let Me Love You (Rokel, 1979)
Call Super, or JR Seaton as he still called himself back then, played at Soju Bar many times. I think the first time he was invited by Headman who did a monthly Relish Night at Soju Bar. Call Super finished the night together with Objekt and they both blew my mind. They were playing very obscure electronic stuff and then broke it up with songs like this. 100 % early morning magic. Nobody cared which genre, which time or which part of the world the music was from. Everything melted into one amazing vibe.
Druffalo Hit Squad: Nicolette – Lotta Love (Warner Bros., 1978)
Huge Soju Bar anthem! The Druffalo Hit Squad’s residency “Love Fools” was the night where anything was possible. From pop to shock to classics and not classics! Sometimes very ironic, sometimes iconic! Sometimes hard to follow, and sometimes pure magic. At the end of their nights there was a lotta love in the air indeed.
Read the rest of this entry »Anthems: Ostgut, Berlin (1998-2003)
Posted: April 23rd, 2018 | Author: Finn | Filed under: Interviews English | Tags: André Galluzzi, Anthems, Berlin, Carl Craig, Electronic Beats, Ostgut, Snax, Surgeon | No Comments »
Located near to its famous successor Berghain in a disused freight depot, Ostgut was open from 1998 until its lease ran out in 2003 and the location was demolished. It is telling that the name is still vital in the Berghain enterprise, and Ostgut already had a lot of key elements that are still thriving: marathon weekends with marathon DJ sets, with hard Techno played on the main floor and housier vibes on the already existing Panoramabar. And as Ostgut evolved from the male-only Snax parties, it carried the according focus on gay and fetish sex into a permanent, raw location. We asked Ostgut resident DJ André Galluzzi to guide us through the sound of the club that set the foundation for the clubbing experience Berlin became famous for in recent years.
Surgeon – Atol (Downwards, 1994)
We begin with a primetime highlight. This track guaranteed ecstasy on the floor and became a trademark for the club.
Ignacio – Virton (N.E.W.S., 1999)
It was not an unusual track, but definitely one of the naughty ones. Direct and mindblowing. I used to drop the track between 5 to 6 a.m.
Si Begg – Welcome To The Discotheque (Mosquito, 2000)
I loved to open my set with Si Begg after live acts. Because it has this incredible intro while the mood of the record was already defining for the night. This was brillant.
Read the rest of this entry »Anthems: Front, Hamburg (1982-1997)
Posted: January 5th, 2018 | Author: Finn | Filed under: Interviews English | Tags: Boris Dlugosch, Electronic Beats, Foremost Poets, Front, Hamburg, KC Flightt, Klaus Stockhausen, Phillip Clarke, Tony Humphries, Willi Prange | No Comments »
Down in a raw basement near Hamburg‘s Berliner Tor station, Willi Prange and his partner Phillip Clarke opened the mostly gay oriented club Front in 1983. The majority of nights at Front were not played by guests, but by the main resident DJs Klaus Stockhausen and his successor Boris Dlugosch, who steered the club through the most cutting edge music the disco aftermath had to offer, until it eventually became one of the first clubs in Continental Europe to embrace house music and the styles that followed suit. The club’s intense nights were built on a wildly hedonistic and loyal crowd, a fierce quadrophonic sound system, a secluded DJ booth that seemed to antagonize the cult of personality of the years to come, and thus created a legacy that lasted well beyond the club’s closure in 1997. We asked Boris Dlugosch to guide us through the sound of the pivotal years of Front.
Shirley Lites – Heat You Up (West End, 1983)
This was one of my first lasting musical impressions at the club. Klaus Stockhausen played it nearly every Saturday then. It was more of an after hours record and it fitted perfectly.
Syncbeat – Music (Streetwave, 1984)
Klaus played this record when it came out, and when I started as a DJ in 1986 it had a small revival because I rediscovered it for myself. It was one of the most formative records for me. I did not know until then what this record was. I found it by chance in the club’s own record inventory. I loved this track very much and one day I could get a hold of it in a grab bag at Hamburg’s Tractor store for import records, where I was working at the time. Those bags were sealed and contained 10 records. I actually flicked through several other bags until I had two copies of it.
Connie – Funky Little Beat (Sunnyview, 1985)
This kind of Electro was the sound of Front from 1983 to 1984. I was not going to other clubs much, I was still too young and could not get in, but I heard this record on old tapes recorded live at the club (https://hearthis.at/front/). When I started going to Front from 1985 on this sound slowly faded away and was replaced by early house music.
Harlequin Four’s – Set it Off (Jus Born, 1985)
For me this was a quintessential Freestyle and Electro record. Klaus Stockhausen used to play it mostly as a break, often mixed with „Operattack“ by Grace Jones, or with space effects records. This and the Grace Jones album were milestones for my musical socialisation and they always worked on the floor.
Adonis – No Way Back (Trax, 1986)
This record and Farley Jackmaster Funk’s „Love Can’t Turn Around“ came out in 1986, shortly before I started playing at the club myself. At Front club changes in pace and style were elementary and the according setting was sometimes prepared over the course of hours, and sometimes just introduced by a quick break. House music brought along a different structure, and there was a steady beat for hours. At that time this was the defining new feature of the genre. Music was mixed seamlessly throughout the night at Front in all the years before, but with house music the rhythm became more homogeneous.
Read the rest of this entry »
Recent Comments