00:00:00 1 King Frost – Nobody 00:04:30 2 VicOne – Color Coded 00:08:11 3 King Frost – If U Love Me 2k25 00:12:04 4 King Frost – Get Raw 00:16:27 5 Teddman – The Only Dance 00:20:21 6 Hitman – Let Me Feel That Bass 2 00:24:08 7 VicOne – Been Around 00:27:02 8 VicOne – Bounce And Ride 00:29:59 9 VicOne – Kingdom Stormin 00:32:47 10 VicOne – The Girls 00:35:36 11 Teddman – Oh Baby 00:39:03 12 King AGee, King Frost – They Don’t Wanna Change 00:42:55 13 Traxman – Tha Whole Wide World 00:46:00 14 VicOne – Afterlife 00:50:03 15 VicOne – Knockaround 00:54:03 16 Weezy – We On The Air feat. Boogiemann 00:57:27 17 Traxman – Am From Chicago!!!!!!. 01:00:06 18 VicOne – Shadow Boxin 01:03:54 19 DJ Royal – Drake Tootsie Slide Juke Track 01:06:55 20 DJ Earl, King AGee – Do It (Burn Dat) 01:11:00 21 VicOne – Ricochet 01:14:24 22 VicOne – Haunted Body Clash 01:17:19 23 DJ Earl, King AGee – Up Yo Rank 01:19:53 24 DJ Wicked – Bow Bow Bow (F My BD) Juke Remix 01:22:29 25 DJ Wicked – Come Into Tha Battle ft. DJ Elmoe 01:26:42 26 DJ Corey – Get Torched 01:31:38 27 King AGee – Losttt 01:34:59 28 VicOne – Interlude 01:35:59 29 VicOne – Mass Journey 01:38:54 30 VicOne – Master Chest 01:41:41 31 DJ FLP – Vestige 01:44:35 32 DJ Lil Rome – Them Days 01:46:24 33 VicOne – Dearly Beloved 01:51:37 34 DJ Earl, King AGee – Worked Up 01:56:01 35 DJ Earl, King AGee – Don’t Play 02:00:00 36 DJ Earl, King AGee – Inna Drought Ft Jay Dot 02:03:33 37 DJ Earl, King AGee – No Games 02:06:20 38 Cursxr – Ice Hands 02:09:09 39 Thrashwerkz – Pansers Melody 02:13:32 40 King Frost – Garden Kisses 02:16:03 41 VicOne – Be That As It May 02:18:40 42 VicOne – Rescue Mission 02:21:03 43 DJ Lil Rome – Tune Me N 02:23:28 44 DJ Oreo – Pretty Broken 02:26:04 45 DJ Wicked – Stop Footworkin 02:29:41 46 VicOne – Control Room 02:34:44 47 DJ Earl, King AGee – Just Life 02:37:55 48 DJ Earl – Drive 02:40:13 49 VicOne – Run It Up 02:44:59 50 DJ Earl, King AGee – Mode I’m In 02:49:26 51 DJ Lil Rome – Fuxxs Wit U 02:52:27 52 DJ Earl, King AGee – Dance Shoes 02:56:15 53 DJ Lil Rome – My Desire To Work 02:58:02 54 DJ Chevy – Ball Em Up 02:59:56 55 VicOne – Second To Who
00:00:00 1 King Frost – The Way Love Goes 00:04:00 2 Traxman – I Gotta Get Away 00:06:52 3 VicOne – Lofi Transfer 00:10:12 4 DJ Acey – Perc 00:14:35 5 DJ Lil Rome – Fallin 2Fast 00:16:33 6 VicOne – This Is Legend 00:20:23 7 Teddman – Slow Down 00:23:43 8 King Frost – Summer Madness 2k24 00:26:52 9 VicOne – Az Soon Az I Can 00:31:05 10 VicOne – Far Az I Know 00:33:59 11 VicOne – Technicolor 00:36:59 12 DJ Rome – Love Call VIP 00:39:59 13 VicOne – DJ Lil Rome MoJo 00:42:10 14 VicOne – U Need 00:45:07 15 DJ Lil Rome – Super Sonix 00:47:44 16 king frost – 3rd Eye Awake 2k24 00:50:56 17 SIRR TMO THANKYOUGOD9999 – Neo 00:54:06 18 King Frost – DJ Chad Don’t Understand 00:56:07 19 King Frost – Freeze The Floor 2k24 00:59:17 20 King Frost – Do Something 4 Me 01:03:15 21 King Frost – One Day 01:06:28 22 King Frost – RIP Angie Stone No More Rain 01:10:32 23 King Frost – Tell Me The Truth 01:13:44 24 VicOne – Space Soul 01:16:20 25 Cursxr – Eway 01:18:55 26 DJ Phil – Worst Behaviour VIP 01:22:31 27 DJ Puffin – Water Remix Ft: Nanako 01:26:43 28 Traxman – Letter 15!!! 01:30:06 29 DJ Earl, King AGee – The Real Is Back 01:33:42 30 VicOne – Fake Fantasy 01:36:17 31 VicOne – High Rise 01:39:19 32 King Frost – In My Head 01:42:29 33 VicOne – U And Me 01:45:29 34 VicOne – Starts With A Hum 01:49:32 35 VicOne – Nautilus 01:52:32 36 Cursxr – They Front’n 01:55:23 37 DJ Earl, King AGee – Dogz 01:58:11 38 DJ FLP – Angel Gaze 02:01:14 39 DJ FLP – Floaters 02:04:47 40 DJ Lil Rome – Beauty 02:07:49 41 DJ Lil Rome – More Power 02:09:42 42 DJ Phil – West End Girls (ft Manny) 02:13:06 43 DJ Wicked – Guess Who’s Back? 02:15:55 44 SIRR TMO THANKYOUGOD9999 – Green Soul 02:19:08 45 King Frost – Not Cold 2k24 02:22:31 46 Teddman – Rain 02:26:08 47 Traxman – U Got Me Runnin (Cue’s Queen For A Day Rework) 02:30:39 48 VicOne – For The Love Of This 02:35:41 49 VicOne – Radio Active 02:40:41 50 Weezy – Somethin Banging 02:42:04 51 VicOne – Touched By God 02:46:15 52 VicOne – Zoned Inn 02:48:52 53 VicOne – So Lovely 02:51:41 54 DJ Chad – Fading Away 02:55:41 55 DJ Earl, King AGee – Still Luv (Chicago FWK) 02:57:31 56 DJ Earl – Fans Ft DJ Chad 02:59:19 57 DJ Lil Rome – Stroll 03:01:46 58 Teddman – Hindi 15 03:05:49 59 Traxman – Fusion Mystery
00:00:00 1 YMO vs. The Orb – Tong Poo (House Of Bright Colours Mix) 00:10:43 2 Robbie Williams – I Started A Joke (I Started An Orb Mix) 00:14:45 3 Wendy & Lisa – Staring At The Sun (Blinding Mix) 00:23:11 4 Primal Scream – Higher Than the Sun (Higher Than The Kite Mix) 00:31:57 5 The Orb – Towers of Dub 00:46:34 6 Pop Will Eat Itself – Home (Home Sweet Home Orb Remix) 00:55:23 7 The Orb – Montagne d’or (Der gute Berg) 01:04:51 8 Lisa Stansfield – Time To Make You Mine (In My Dreams Mix) 01:14:47 9 The Orb – Plateau 01:27:46 10 The Orb – Supernova At The End Of the Universe 01:38:58 11 The Orb – Backside of the Moon (Under Water Deep Space) 01:44:23 12 Penguin Cafe Orchestra – Music For A Found Harmonium (Pandaharmoniumorb Mix) 01:53:54 13 Can – Halleluwa (Halleluwa Orbus 2) 01:56:58 14 Haruomi Hosono – Laughter Meditation (The Orb) 02:05:25 15 Jam On The Mutha – Hotel California (Orbitally Ambient Mix) 02:14:00 16 Killing Joke – Requiem ( A Floating Leaf Always Reaches The Sea Mix) 02:21:23 17 The Orb – Valley 02:27:25 18 Fortran 5 – Groove (The Herbal Supper Mix) 02:35:02 19 Miranda Sex Garden – Gush Forth My Tears (The First Steppes Mix) 02:39:44 20 The Orb – O.O.B.E. 02:52:08 21 The Art Of Noise – Art Of Love (Youth & Orb Mix) 02:57:02 22 The Orb – Star 6 & 7 8 9 03:04:30 23 The Orb – Outlands 03:11:52 24 Erasure – Ship of Fools (Orbital Southsea Isles of Holy Beats mix) 03:19:20 25 Zoë – Moonsister (Lunar Dub 1) 03:26:04 26 The Orb – Perpetual Dawn (Solar Flare Extended Mix) 03:32:43 27 The Orb – Little Fluffy Clouds 03:39:18 28 System 7 – Davy Jones’ Locker (ft. Alex Paterson) 03:47:43 29 The Orb – Earth (Gaia) 03:56:40 30 Dave Stewart – Lily Was Here (Space Centre Medical Hum) 04:04:23 31 Sun Electric – O’Locco (Orbital Therapy, Part 1)
00:00:00 1 The Orb – Pomme Fritz (Meat ‘N Veg) 00:08:56 2 The Orb – Spanish Castles in Space (Castles In Goa Mix) 00:17:09 3 The Orb – Once More (FT Explore Satan Mix) 00:20:45 4 The Orb – Majestic 00:33:15 5 Pato Banton – Beams of Light (Depths Of An Ocean Lovemix) 00:38:23 6 Delkom – Superjack (Orbital Infusion 2000) 00:44:51 7 The Orb – Into The Fourth Dimension: Essenes Beyond Control 00:51:17 8 Paradise X – Too Much (Start & Depart From Paradise Mix) 00:56:53 9 The Orb – Blue Room 01:16:07 10 Time Unlimited – Men Of Wadodem (Orbital Mix) Ultra Records 01:18:35 11 鈴木慶一 – Satellite Serenade (Trans Asian Express mix) 01:30:44 12 Marathon – Movin (Ambientappella Live Mix) 01:40:12 13 The KLF – 3am Eternal (Blue Danube Orbital Mix) 01:46:43 14 Depeche Mode – Happiest Girl (Orbital mix) 01:54:29 15 Zodiac Youth – Fast Forward The Future (Bucket & Bong Mix) 02:01:18 16 West India Company – O Je Suis Seul (Orient Express Mix) 02:08:18 17 Fortran 5 – Love Baby (Electropathy Mix) 02:13:31 18 Tangerine Dream – Towards The Evening Star (Mandarin Cream Mix) 02:22:38 19 System 7 – Sunburst (Orb Remix) 02:30:03 20 Wir – So Slow (The Orb In Atlas Mix) 02:36:16 21 System 7 – Miracle (Orb Remix) 02:41:58 22 The Orb – Close Encounters 02:52:01 23 Meat Beat Manifesto – Radio Babylon (Beach Blanket Bimboland Mix) 03:03:57 24 The Orb – Peace In The Middle East (Sea Of Tranquility Mix) 03:09:59 25 The Orb – Oxbow Lakes 03:18:27 26 The Orb – U.F.Orb 03:22:46 27 The Orb – Assassin (Radio 7″ Edit) 03:26:02 28 The Orb – A Huge Ever Growing Pulsating Brain That Rules From the Centre of the Ultraworld (Orbital Dance Mix) 03:34:09 29 System 7 – A Cool Dry Place 03:41:42 30 Gary Numan – Jo The Waiter (Bon Apétit Mix) 03:51:00 31 Maurizio – Ploy (An Island Of Mud Mix) 04:02:46 32 Mystic Knights – Ragga-Nam-Poiser (Waves Of God By The Orb) 04:06:09 33 Readymade – Ambient State 04:07:02 34 The Orb – White River Junction 04:17:00 35 The Grid – Crystal Clear (Crystal Clear Water Revival Mix) 04:23:51 36 Front 242 – Crapage (The Turd Mix By The Orb)
1990 was still a transitional year for UK breakbeat music, but on another scale than 1989. The direct connection to acid house started to fade, yet the prototypes of the previous year were developed further. The breakbeats became more varied and complex, there were more bleeps and bass and more pianos, more rave, more techno, gradually more tempo but also generally more diversity. And as you can see with the number of mixes I recorded for this year, there were far more releases as well. And they sounded more refined, as the nights they were played at got bigger and the sounds followed suit.
00:00:00 1 The Source Featuring Candi Staton – You Got The Love (Erens Bootleg Mix) 00:07:37 2 Mr. Fingers – Mr. Fingers – What About This Love (Even Deeper Mix) 00:13:18 3 The Stone Roses – Fools Gold (A Guy Called Gerald remix) 00:20:02 4 4 Hero – Move Wid The House Groove 00:25:00 5 The Sindecut – Demanding Cycle – Of A Word Bound Hammerhead 00:29:57 6 M.N.D.J – Stop The World (Instrumental) 00:33:11 7 Moody Boys – Jammin (Ital Mix) 00:37:40 8 A Certain Ratio – Won’t Stop Loving You (Sumner Mix) 00:41:56 9 Rebel MC – Comin’ On Strong (Ruff Neck Mix) 00:48:31 10 The James Taylor Quartet – Killing Time 00:53:05 11 Fresh Four – Compared To What (Dub) (feat. Lizz.E) 00:57:15 12 Nomad featuring MC Mikee Freed – (I Wanna Give You) Devotion (Instrumental) 01:03:11 13 Mr. Fingers vs. Rockers Revenge – Feel The Sunshine 01:08:15 14 A – L.A. Star – Wondrous Dream (Mix 1) 01:13:50 15 Psychotropic – Only For The Headstrong 01:21:00 16 Baby Ford – Change (Quick St. Break Mix) 01:25:56 17 Baby Ford – Change (Konrad Cadet Mix 1) 01:30:45 18 Jesus Loves You – Generations Of Love (Future Dub) 01:35:44 19 Jesus Loves You – Generations Of Love (Land Of OZ 12″ Mix) 01:41:54 20 Renegade Soundwave – Women Respond to Bass 01:45:14 21 A.R. Kane – A Love from Outer Space (Venusian dub) 01:51:42 22 A.R. Kane – A Love from Outer Space (Solar Equinox mix) 01:55:10 23 A.R. Kane – A Love from Outer Space (Lunar Eclipse mix) 02:00:47 24 The Sindecut – To The Heart 02:04:59 25 The Sindecut – Having 02:08:31 26 Psychotropic – Hypnosis 02:16:24 27 Logic Control MCs – High Pursuit 02:19:35 28 Mental Cube – Chile Of The Bass Generation 02:23:14 29 808 State – In Yer Face (Mancunian Delight) 02:27:57 30 A Certain Ratio – Spirit Dance 02:32:04 31 Orbital – Omen (The Tower) 02:34:32 32 Shades Of Rhythm – Exorcist 02:39:07 33 Newington Heights – Reach 02:44:11 34 Hardcore – Get A Little Stupid (Backroom Mix) 02:50:39 35 The Moody Boys – Funky Zulu (You’re So Fresh) (Chapter 1) 02:55:14 36 Mc Wildski – Warrior (The Art Of Fighting Without Fighting Mix) 02:59:04 37 Renegade Soundwave – Thunder II 03:03:42 38 Jolly Roger – Music Is The Weapon Of The Future (Dub) 03:09:02 39 MC Buzz B – Never Change 03:12:22 40 Mental Cube – Q 03:16:30 41 A Man Called Adam – Barefoot In The Head
00:00:00 1 Orbital – Chime (JZJ Oh Ya Mix) 00:06:18 2 Plutonic – Amen 00:11:17 3 Unique 3 – Phase 3 00:15:23 4 Excel D – The Blur 00:18:52 5 Westworld – The Slam 00:24:04 6 Hypnotone – SBX 00:28:20 7 A1 – I Like Techno 00:31:25 8 Unknown Artist – Untitled 00:34:46 9 DJ Mad A & Dr. Stevie The Ambient Guru – Levitating Pharaohs (Full Frontal Spacehead Ambient mix) 00:38:38 10 Baby Ford – Let’s Talk It Over (12″ Full Version) 00:43:35 11 No Smoke – Oh Yes (Freedom) 00:48:11 12 Language – Renegade (The Energy mix) 00:52:34 13 Language – Renegade (The Cryptic mix) 00:57:01 14 Bang the Party – Rubbadubb 01:00:18 15 Turntable Overload – T T O 01:05:01 16 Unique 3 – Pattern 12 01:09:36 17 Orbital – Omen (12″ Version) 01:15:52 18 Logarhythm – Jungle (Nightmares On Wax Mix) 01:19:39 19 The Black Dog – Apt 01:23:38 20 Synchro – Synchro-Bass – Mystic Voyage 01:29:29 21 Pet Shop Boys – Being Boring (Extended Version) 01:38:50 22 Adé – Free The Soul 01:42:11 23 2 In A Rhythm – Magic Machine (Ruff Rhythm Mix) 01:45:59 24 2 In A Rhythm – Magic Machine (Time For Action Rap) 01:49:41 25 2 In A Rhythm – Bionic Boogie (Work Da Rhythm Mix) 01:53:24 26 2 In A Rhythm – Bionic Boogie (Ride The Groove Mix) 01:57:28 27 Holy Ghost Inc – Hi-Speed (Pirate DJ Club Mix) 02:01:29 28 Freshtrax & Ace II With Pressure Zone – Destruction (War Zone Mix) 02:06:32 29 Andromeda – Control (Control of the dance floor) 02:11:01 30 Shut Up And Dance – A Change Soon Come (Instrumental) 02:14:51 31 Shut Up And Dance – A Change Soon Come 02:19:10 32 Sudden Impact – Game Of Love (Original Mix) 02:25:04 33 Sudden Impact – Game Of Love (Remix) 02:30:41 34 Adamski – Adamski – Killer (Remix) 02:36:56 35 Sike – Intrigue
00:00:00 1 Baby Ford – The World Is In Love (Dub) 00:05:00 2 Midi Rain – The Crack Train (Dub 1) 00:09:20 3 Midi Rain – The Crack Train (Vocal) 00:13:48 4 Circuit – Shelter Me (Helter Skelter Mix) 00:19:33 5 T.A.S. (The Altered State) – Make Some Noise (Def Mix) 00:22:45 6 HardNoise – Untitled (Instrumental) 00:24:56 7 HardNoise – Untitled (Vocal) 00:28:15 8 4 Hero – Rising Son (Inst.) 00:33:28 9 4 Hero – Rising Son 00:38:28 10 Genaside II – The Motiv (Who Da F@??$! You Calling Fat? Mix) 00:42:33 11 The Dynamic Guv’nors – These Guys Are Doper Than Dope 00:48:15 12 MC Duke – MC Duke – I’m Riffin’ (1990 Remix) 00:51:29 13 The V.F.T – Fenland Bass 00:56:31 14 Exocet – Shogun Assassin 01:01:58 15 Synchro-Bass – Dark Star 01:07:32 16 Unique 3 – Weight For The Bass 01:12:04 17 Marine Boy – Laura Laura 01:17:23 18 DJ Mink – Hey! Hey! Can U Relate (Sunshine Dub Instrumental) 01:23:56 19 DJ Mink – Hey! Hey! Can U Relate (Deep Space Mix) 01:28:41 20 Infamix – A Walk In The Park 01:33:41 21 Satin Storm – Satin Storm 01:38:17 22 Butcher Sam – Piano Passions 01:43:23 23 Bogus Order – Zen Bones 01:47:21 24 FXU – FXU – The Dark Side 01:51:24 25 C + M Connection – Bio Rhythms 01:57:11 26 Westworld – Dreamworld 02:03:28 27 Altern 8 – Reel Time Status 02:07:24 28 Demonik – Labyrinthe 02:12:52 29 Doggy – Dog Food 02:17:31 30 G.F.X. – Eternal (Mix 2) 02:19:37 31 Amber – X-Logic 02:26:18 32 Greed – Give Me (Bleep Mix) 02:31:52 33 KCC – Def 02:34:22 34 Confidential – Jam The Frequency 02:40:45 35 A Guy Called Gerald – Untitled
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.
I am in this business for so long that I know what you have to do right now to get gigs. I am really fully aware of it, and I do not condemn it either. I am part of it myself, unfortunately. But of course all these reels, selfies and footage of crowded floors and beautiful sites do not tell the whole truth. Every DJ once had quiet, or weird gigs. And there really is no harm in that at all. If you learn the hard way, you will probably even have more lasting effects. I am happy that this category of gigs is an exception in my years as a DJ, and I would not tell you if it was otherwise, but let me list some gigs I played that were not turning out as I expected.
1996 Tanzdiele, Kiel
My then weekly residency at Tanzdiele Club in my hometown. The Saturday before was rammed, the one before as well, and so on. I entered the club ready to top it all, and then there were about 20 people the whole night. At some point I was told that there was a huge private party in some flat by some people notorious for huge private parties. We closed the club at 2 am and went there too, but we couldn’t get in because it was so crowded that not even the police there to shut down the party could get in. Told my ego one or two valuable things, and also about taking things for granted.
2006 Aston Villa Stadium, Birmingham
Me and Lars Bulnheim were very excited about the invitation to play some Modern Soul tunes at an allnighter in the stadium. We took selfies on the terraces, admired the trophies and the main floor looked like a cruise ship ballroom. It was wonderful. But when we came to our floor there were some seasoned soul DJs playing mediocre Garage House from CDs, and nearly nobody danced. There was a sizeable bunch of old soulies at the bar, and they were cheering and applauding our records. But we waved them over to dance, and they just laughed.
2007 103 Club, Berlin
Booked to play one of our then quite cherished disco b2b sets with Hunee. Hunee had suddenly decided that digital DJing was the future and so I was playing vinyl and he was playing with Traktor, or whatever. The difference in sound quality was really awkward, as Hunee’s files sounded really bad on the club’s PA. So even the 15 people who showed up left quite soon. Now his files sound better on most PAs than my records, but hey.
2011 Cabaret, Zürich
I entered the club and I was delighted by the sleazy and plush interior. Unfortunately that floor was reserved for a Hessle Audio night with all three of them. I said hi and then was directed to my floor, which turned out to be very small, and also served as the smokers lounge. You could say the smoking and according interaction mattered more than my set, let alone dancing.
2011 Tape, Berlin
Traxx celebrated his 40th birthday party on several floors. It was a great party, apart from the floor Trevor Jackson and I played. Which was the separate room upstairs where people went to have a chat, snog or take drugs, or to just have a quiet moment at last. And I was playing a rather advanced set of post punk favourites.
2013 Gipsy, Moscow
The club by the river looked like as if a spaceship had clashed into an ancient vessel and was half open air. One separate floor had walls of empty bottles. The Russian government had just introduced harsh anti gay laws and the crowd consisted mainly of rich kids more interested in showing off their wealth than in any of the music played, and handsome boys on the edge of the floor pretending to be just friends. I still feel dirty and ashamed when I think of that weekend.
2013, Berghain, Berlin
Me and Anstam were the support DJs for the showing of Murnau’s Nosferatu, soundtracked live by Shed. Anstam was great with setting the mood before, the film itself and Shed’s score was impressive too. When that was over, everybody left very quickly and I played maybe half an hour to the almost empty main room. But I ended with „Bela Lugosi’s Dead“, and the staff packing up and me agreed that it was quite a moment.
2014, Komm, Nürnberg
I had played the same club for the annual soul weekender many times, so I thought it would be a great idea ot play a garage house set. But none of the local soulies showed up, the few people on the floor were not that much into vocals, there was heavy bass feedback on the decks, and there was a huge sold out punk concert in the main room upstairs, and when that ended a bunch of charged up and quite aggressive punks entered the floor and if looks could kill. But I was stubborn, and ready to fight, and surprisingly enough they warmed up to the music very soon. I never had a floor with equally wasted and loved up punks pogoing to Ce Ce Rogers again, unfortunately.
2014 Plastic People, London
Mark Ernestus was telling me that the club had probably the best sound system he ever heard, the reputation of the place was astonishing anyway. What I did not know about the booking was that I was the only remaining member of a Hard Wax package, and that the gig was announced as such. It was also announced that I would be the only one playing of the former lineup, a day before. So I played a frenetic cut up disco set to a few dub techno fans. The club closed soon after.
2015 Humboldthain, Berlin
I played an amazing set, but it was a daytime open air party on the hottest day of the year, and the few people who came by were paralyzed. I also quickly realized that playing in a wooden shack without ventilation was even worse than lying around in front of it. And I played for four hours.
2015 Wax Treatment, Kiekebusch
A wonderful party actually, but all DJs got carried away and played way longer than scheduled. When Shed and me finally started it was already dawning and a lot people had already gone back to the city, and the remaining crowd was too wasted or tired to dance. It did not help that I brought a bag of my favourite Proto Jungle anthems.
2016 Acido, Salon zur Wilden Renate, Berlin
The new techno floor had just opened and I thought it was a great idea to play a set with my favourite acid house records. Unfortunately the other DJs had played a rather leftfield set that did not work, and by the time I arrived the floor was already dead. About five people were merciful enough to dance on, but they were gone pretty soon, and they did not leave to tell other people what was going on. They just left.
2018 Bewegungsfreiheit, About Blank, Berlin
When I arrived at the club I noticed that the lobby floor was sticky and drenched in sweat, but half empty. It was not brave Cinthie’s fault, who played before me, the reason was that the whole ventilation went bust right after the party started. In June. I played my set, but nearly everybody had escaped to the garden. And every drink I had to fight my frustration seemed to dissolve instantly in the heat.
2020 Colour, Melbourne
I had a marvellous time in Australia two years before, playing at the wonderful Inner Varnika festival and some accompanying gigs. When I returned in 2020, however, the pandemic had accelerated from being a distant rumour to undeniable realness very quickly, and while I was travelling down under Europe was locked down and upon arrival I had tons of messages and phone calls by panicking DJs, and I realized that the life I was happily living for over 30 years was basically falling apart in realtime. My first gig in Melbourne was a disaster, as people obviously decided to be reasonable and stay in, and apart from a few friends there hardly was anybody there. The gig in Sydney two days later was the total opposite, playing b2b in a sold out warehouse with DJ Sprinkles, but it had the vibe of the last night out possible, and it actually was. I managed to get one of the last flights back to Europe before most airports were shut down, and dear me I was confused.
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.
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.
Although acid house exports provided the sound blueprints for Second
Summer of Love in the late 80s, the rawness of the US originals often
did not really match the ecstasy fuelled day-glo hedonism that was
sweeping UK clubland. Of course the pioneering tracks from Chicago,
Detroit and New York had the same huge impact in English clubs as
they had in Continental Europe, and the American originators brought
music that was informed by no less aspiring ambitions, but it was
also often produced on the equipment that you could afford in
problematic social environments, and its initial target group was
more local, and on another street level than the almost proverbial
MDMA hugs between football hooligans or other thugs and the dancers
they were previously beating up. But UK pop and club culture had
interpreted outside influences into something more pop before and
sent it back, as it had happened with the British Invasion in the 60s
and lovers rock in the 70s, and house, and particularly acid house,
was no exception. In the UK, some clever people not only heard a
difference, they also understood that it had potential far beyond
that. Just a new, small and dedicated scene at first, but maybe more.
Or even much more.
Baby
Ford seemed to have a very clear vision of what was missing for the
music to really cross over and reach such potential, and with his
first promising releases from 1988 up to his first album „Fordtrax“
he brilliantly merged inspirations from Larry Heard, Derrick May or
Todd Terry with a knowledgeable pop sensibility. But in contrast to
other successful London cohorts of the Rhythm King label like Bomb
The Bass, S‘Express, The Beatmasters, and Coldcut on their label
Ahead Of Our Time, he did not succumb almost entirely to the charms
of the wild days of sampling, instead aiming more for his own
musicianship than a wild collage of references with a beat. And in
contrast to Manchester artists like 808 State and A Guy Called
Gerald, who achieved a similarly distinctive sound, he was ready,
willing and able to sing as well, and he implied his sense of humour.
Be it „Ooochy Koochy“ or „Chikki Chikki Aah Aah“, his music
was catchy and smart, but instrumental gems like „Fordtrax“
already proved that he knew how to arrange and set a mood. He seemed
to make fine use of his influences as much as he made them his own,
and he established a mini-canon of his own work in which his ideas
naturally referred to each other.
Already a year later his second album „’Ooo’ The World Of Baby
Ford“ aimed considerably higher. There are variations of „Fordtrax“
material but in a different, more mellow mood („Milky Tres / Chikki
Chikki Aah Aah“). Which is perfectly ok if your source material is
good enough to be reinterpreted in such a short time. Other tracks
like „Let‘s Talk It Over“ or „The World Is In Love“ have a
similar mood, somehow as urban as pastoral, sublime and full of hope.
„Beach Bump“ or „A Place Of Dreams & Magic“ are more over
the top, reviving the camp fun of „Oochy Koochy“ and other
livelier tracks he made before. And then there are tracks that hint
at the idea of this album as a continuation of gone but yet still
lasting UK youth cultures. In terms of music „Poem For Wigan“ and
„Wigan“ have not much in common with the 70s northern soul haven
Wigan Casino (or the Jazz Funk and later Electro played at Wigan Pier
club by its resident DJ Greg Wilson), but Baby Ford grew up near
Wigan and experienced what happened there, and both tracks have a
sentiment true to the inspiration. You may now flock to other clubs
and dance to other sounds, but the spirit is the same. Else the cover
version of T.Rex‘s „Children Of The Revolution“ is more
obvious, putting the 70s glam rock anthem into the context of the
acid house movement, whose children won‘t be fooled either. It is
time again for the UK youth to rise up against it, and this is how it
sounds. And then the according modern grooves also meet the
modernized version of the hippie era aesthetics that the tabloids and
authorities directly diverted to blame and prosecution. Where there
are loved up messages and melodies, psychedelic colours and a quest
for an alternative way of living, there must be something for society
to fight back, regardless of what you are afraid of in the 60s, 70s,
80s, or the decades to come. Us against them, forever irreconcilable.
This
album captured the revolutionary spirit and joy of that time
perfectly, and it indirectly predicted why it could not last. It was
not widely perceived as a defining statement and Baby Ford did not
become the defining pop star, and he seemed to abandon his bright
ideas soon after. First with the subsequent 1992 album „BFORD9“,
which still had some traces of his prior optimism left, but which
also confrontationally displayed disillusionment, darker topics and
harder sounds, until he reduced his persona and sound more and more,
albeit still with consistently great creative results. Either way,
Baby Ford‘s world may have not been big enough, but you still think
‚Ooo‘ when you think of it.
At the end of the 80s house music added deep. Seminal artists like Larry Heard, Marshall Jefferson or Virgo Four abandoned the track-dominated sound palette and introduced musicianship to a genre that was then better known for dancefloor functionality. But it was from 1990 on that the vibe really spread and developed, particularly in New York City. I first heard the term flute house when Roger Sanchez released „Luv Dancin‘“ by Underground Solution. Some also called it ambient or mellow house. But the music was not made for home listening purposes, DJs would use it, too. As a gentle introduction, or as a moment of regeneration during peak time, or as the best possible way to ease the crowd out again into the early morning, so that not a single glorious moment of what just happened the hours before was tainted by something less. A lot of these tracks had enough kicks to have you working at any time, but they also seemed to be created for unique moments, closed eyes, embraces, disbelief evoked by sheer beauty. A lot of these tracks had tags like ambient or jazz in their titles and credits, but they did not really try to be either. The artists involved liked to display their musical abilities, and their skills to establish a mood and an atmosphere. They knew how to write a melody, they knew how to arrange their layers and instruments, they were determined to sound as good as their means would allow. By the time Frankie Knuckles‘ Whistle Song was released in 1991, the flutes, vibraphones, saxophones or similar instruments were already derided, but the sound had come to stay, until this day. This playlist gathers some classic moments that paved the way.
Logic – The Final Frontier (Acoustic Mix) (Strictly Rhythm, 1990)
Wayne Gardiner took Larry Heard’s gentle elegance (the bassline is lifted from Fingers Inc.’s deep house blueprint “Can You Feel It”) and added the archetypical swing of early 90s New York City house. His back catalogue is filled with lots of sublime grandeur, but this track is structured like a jazz band taking turns on their respective instruments, and steadily building up layer after layer of tension and drama in the process. The result is still peerless.
That Bobby Konders quit producing house music for a career in dancehall and dub productions when he was capable of track like this, is still a an irreparable trauma for many. As with many of his tunes, this can completely zone you out. Eight minutes of considerably relentless flutiness, accompanied by a dubbed out bassline and some eerie strings. A psychedelic masterpiece.
The Vision – Shardé (Nu Groove, 1991)
Eddie Maduro was an accomplice of Wayne Gardiner (for example he co-wrote Logic‘s „The Warning“ and supplied its seminal vocal introduction), and this is one of his finest moments. It is named after his daughter, and I am very convinced that the world would be a better place if such a beautiful piece of music would be composed for every child.
The Nick Jones Experience – Wake Up People (Massive B, 1991)
New Jersey DJ and producer Nick Jones with a total gem on Bobby Konders‘ Massive B imprint, with some help by Satoshi Tomiie. Not your typical house groove, but this forever remained a special track for special moments anyway. But if chosen wisely, it can elevate those moments to something completely else, be it in the club or when you are on your own.
Beautiful People – I Got The Rhythm (Club Mix) (Cabaret, 1991)
I assume this collaboration of Joey Longo aka Pal Joey with Manabu Nagayama and Toshihiko Mori came into being when King Street Sounds label head Hisa Ishioka introduced American and Japanes producers to each other in the early 90s. This tracks bears the trademark Pal Joey mixture of hip hop ruffness and deep sounds, but it is way longer, more complex in structure, and it even adds a steady breakbeat to fine effect. Beautiful People indeed, and they sure got the rhythm.
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