Music & Interview
Opuswerk
Introduction:
Opuswerk … Hendrik van Boetzelaer aka Opuswerk, based in Geneva, is an artist whose love for what triggers his raw emotions is highly contatigious.
Interview:
I’m born and raised in Geneva Switzerland and I still live here. I was lucky to have my teens in a period when it was as rich culturally as it is financially. Back then, the numerous squats offered fantastic opportunities to discover all types of music. Going to those is when i really opened up my ears and mind to a lot of things from music to different ways of looking at life.
It was during my first years of high school that I discovered UK dub (which was and still is huge here). From there it my love for underground and lesser known music simply grew to an obsession. From then on I kept discovering one genre after the other as i was digging my way through.
Techno is such a broad term nowadays, and encompasses lots of music I do not relate to at all. So to call it my favorite music wouldn’t be accurate. However I would argue that its the futuristic and visionary aspect of tracks and songs that get me the most interested, and some of techno has a lot of that 🙂 .
(people freaking out during an Opuswerk set)
Over many years, step by step, I acquired some records; one turntable, which I used to learned how to beatmatch while I had a tape deck playing on my hi-fi. Then a mixer (a trusty DJM300) and lastly finally a second MK2. This allowed me to have endless mixing sessions in my parents basement, playing music for hours on end to myself. I never had the goal of being a “DJ”. It was always sheer passion that drove me, and still is what gets me to dig new music and go to my studio. Career or not, I would do it anyway.
As to a special moment where it cliqued; It was after playing at Mosaique in St Petersburg for the 1st year birthday tour of Nikita Zabelin’s project Resonance. After my set, cooling down in a corner of the club, I realised I wanted to do all I could to pursue being an artist every moment of my life. Music was really giving me so much back humanely and emotionally, compared to what I had studied and was doing, that i decided to jump ships and pursue ways of making a living of what is making me the happiest every day.
(Opuswerk promo picture)
Producing came about from an obsessive curiosity to understand how things work. It was also a way to get my head out of my architecture studies. During those long years, I had very little time for anything else than studying. There was a copy of Cubase on my flatmate, and I ended up borrowing it a lot. I remember it took me a long while to discover what the Amen break was, after I had spent countless hours trying to make my drums sound like this from one shot samples. From there, learning the tools allowed me to find ways to express myself differently, connecting with my inner self and letting go.
(snippets of “Kähler E.P.”, released on Knotweed in 2012)
Working alone allows more freedom, and more self doubt, but also a more immediate connection to the music and the moment, I find it easier to let go and have my body instinctively build sounds. On the other side, I still love collaborate a lot, like with François X or Ripperton more recently. Exchanging ideas, opinions and techniques is wonderful too.
(full stream of the track “Zuev”, released on ARTS in 2017)
Werk sounded very much like it, and Opus is the latin word used to enumerate every constructive part of a building which touched me as an architect. We understood it as a “part of a work”, although I think it actually translates to work-work. At the time, there was nothing coming up in search engines using that word, and it sounded like Kraftwerk, so we went with it and it stuck since then.
(Hendrik aka Opuswerk in action)
Working remotely didn’t really give satisfying results. So we stick to getting together in the same room for making music. Unfortunately this has been tough to make happen with our touring schedules and the fact that we live in different cities. Still, we are in touch daily, and do send music to each other all the time.
Collaborating with him was really a game changer for me, we both have very different musical backgrounds, but we click to similar stuff. He has a huge insight on techno and house history which I am was missing. As for me, I’m a bit more of machine and studio geek than he was. With time, those skillset got blurred, although he knows still way more about house music than I do, and how to make a groove groove. There is some sort of magic happening when we make music. We learned to make a flow happen, with no predefined parts and listening and vibing of each other’s ideas. With time I’ve become the one doing the final mixes of our collaborative tracks and sometimes for his solo work too, like his Murky Dreams EP which we mixed in my studio in Geneva.
(snippets of the EP “VéVé” by HISS:1292 on DEMENT3D Records)
As to getting to the finished product; I like to be involved in the whole process. I also feel it’s part of the job to make sure the music I made gets out in the best way it can. Especially as nowadays, there’s little to no money in it for labels. It is the artist’s duty to do as much as possible to help the persons who have put trust, money and effort into getting their arts out to the world.
(full stream of the track “Extensum”, released on “Forms Of Multiplicity EP” via Bipolar Disorder)
We have “super clubs”, like audio, d! Club, Nordstern and Hive; as well as music lover havens, which I’m personally more attached to, like Elysia, Zukunft, Folklor, La Coupole, Le Zoo, Klub Kegelbahn. I do feel like we miss smaller clubs with a less than 200 people capacity.
As for DJs and producers, I’ve got to give a shout to Agonis and Garçon who I feel a strong connection to musically. Also worth checking are Pascal Viscardi, Mod21, Ripperton, as well as Eli Verveine, Princess P, Honorée, Mah’Mood and WTF, Androo, Jean Toussaint, Lexx who are all very fine DJs, also record store-wise, Bongo Joe and Plattfon are must visit. I’m sure there are many I’ve just haven’t discovered yet.
(Opuswerk remix for Steam’s “The Blacksmith’s Apprentice”, released on Obscuur Records)
The residency came about as a realisation after the fact. I had already played many sets for those nights, when the former club booker realized she was always calling me for those nights as she wanted the best local act she could get. I was the one popping to her mind all the time, from then I was officially resident for those nights. To this day it’s one of the best compliment I’ve received as an artist. With the new booker those nights have come to an end.
I’m now pushing an itinerant party concept called OPUS where I act as the curator of the night which is really fun. Some of the previous guests were Sandrien, Iori, Garçon, Agonis, JP Enfant, Ulf Eriksson and Nikita Zabelin.
(“Techno Makes Sense W/” … Opuswerk)
I’m going to Colombia soon, so will see what that will bring…
(Opuswerk playing with some equipment)
My studio is centered around hardware and software driven by a Sequentix Cirklon and all going to an APB Dynasonics Spectra Ti mixing desk. Everything, synths, FXs, is plugged and accessible at all times. Thanks to several patchbays, I can easily replug whatever I want into whatever else, as well as record everything separately or as a whole.
With time, I’ve learned my process involves hours of noodling until my brain suddenly clicks and tracks get done, and more often than not tracks spawn from a technical idea rather than a musical one. That final process is often very fast and either ends up being a final track or 95% of one.
This jamming / flowing process is at the core of how I work, but I can never know how or when it’s going to happen. Sometimes it’s at the beginning of a session, sometimes at the end, or in the middle of finishing the last 5% of a previous tracks. I’ve lost so many great jams and tracks thinking I would finish them later that I cannot count them no more. So I designed my current setup so that I can record everything all the time and catch the magic of the moment as easily as possible. Interestingly, this way of working has produced much more honest and close to myself music than before.
(some of Opuswerk’s equipment)
01. Live at Wembley by Queen
This was my wake up cd for many years. Must have done something to my brain.
02. Armagideon time pt1 by Mighty Massa
This was an anthem at the dub parties I was going to. That bassline still gives me goosebumps every single time. It’s also the one track that pulled me over to the dub side, along LPs by Earthquake Studios and Iration Steppas. I got to meet the man behind the music many moons ago in Tokyo and it was really special.
03. Up All Night by John B
This was my first ever 12”. With a copy of Cause 4 Concern Cerberus. I learned beat matching playing those 2 records while a cassette from a recorded radio show was playing.
04. Up Color serie by Studio 1
The first minimal techno project I heard, the whole collection still blows my mind to this day.
05. Inacunabula by Autechre
I remember borrowing this album along with many Warp CDs from the CD library. It blew my mind, and I’ve had it on repeat for so long that the minidisc copy it was on broke.
06. Nek Salanet by Kit Clayton
This album accompanied me for so many long nights drawing architecture plans. It was also the one that pulled me from drum and bass, which was getting extremely dull at that time to the more technoid side of things. It’s dubby feel, and futuristic vibe is fantastic. Was also really interesting to read there was a connection between him and Juan Mendez (Silent Servant).
07. Sandstorms by Carl Craig
François X showed me this tune and it was an instant love affair, getting me deeper in the sounds from Detroit, which I knew very little of at the time.
08. Affenstunde by Popol Vuh
That album opened to me the world of Krautrock and more cosmic music, I’m still on the journey discovering it.
09. Aste by Ø
On the way home from a party, Chaton/19.454.18.5.25.5.18 sent me to explore the Sahko label. Mika Vaino’s Ø project blew my mind. Perfect minimalism and grooves with a fantastic taste of space. RIP.
10. Second Woman by Second Woman
That recent album really inspires me in how it sounds futuristic both in its sound textures and its rhythms. I hope more music like this will come out.
I’ve got to also mention the following who are having a big impact on me recently, Cerrone, Patrick Cowley, Vakula, Oliver Ho, Nina Kraviz, James Blake, Jonny Nash, Forest Drive West, Ma Spaventi, Cosmin TRG.
(“Radio Ga Ga (Live At Wembley)” by Queen)
Release-wise, there’s a solo EP coming on the new Dement3dXXX labelwhich I’m really happy with, a track on the upcoming VA of Norite and more than I’m finalizing. I’ll be touring Columbia for the first time in March and I can’t wait to be there!
Recommendations:
Opuswerk’ s “Forms Of Multiplicity EP” on Bipolar Disorder
BYLLY’s “Mouth Full Of Sand EP” w/ Opuswerk remix on Bipolar Disorder
Exclusive Mix:
Tracklist of Exclusive Mix:
01. Varg – Kvarteret Helvetet
02. Convextion – Venus In Spurs
03. Vedomir – Dreams (Marcel Dettmann Remix)
04. T++ – Audio1995#8
05. Wrong Assessment – Rebirth Cosmin TRG remix
06. DJ Sodeyama – TEST PTTRN 014
07. Anastasia Kristensen – Donni
08. Marcellus Pittman – Dirty
09. Shadowax – A & B (Buttechno Remix)
10. Nina Kraviz vs Snazzy – U Ludei Est Pravo!
11. Carl Craig – Angel (Japanese Mix)
12. Forest Drive West – Persistence of Memory, Pt. 2
13. Upsammy – Another Place
14. Ploy – Unruly
15. Simo Cell – Ego Death
16. Echopplex – Your Place (A Made Up Sound Remix)
17. Barker – Cascade Effect
18. Solar Quest – Flying Spirals
Websites:
Opuswerk
[NovaFuture Blog Exclusive Mix]: Epi Centrum plays Synewave
DJ:
Epi Centrum
About the concept:
Here is the seventy-sixth instalment of our series “abc plays xyz”.
The idea behind it is to ask some DJs/mixing artists if they have an artist or label in mind that they love and would like to use for a mix.
So the approach of each mix is clear: the choosen DJ/mixing artist makes a selection of tracks produced by one artist (and her/his monikers) or released on a label (and its sublabels) and creates a nice mix from it.
Find links to all instalments at our overview. Today we present you Epi Centrum’s mix of tracks released on Synewave.
About Epi Centrum:
Warsaw’s analog techno maverick Jurek Przeździecki (b.1973) is one of the more powerful and uncompromising voices in former Eastern Bloc electronic music music scene. Bred throughout the 90s on a varied diet of first wave techno, new beat and post-industrial mutants like SPK or Psychic TV, he developed his own vision of highly intricate and detailed yet definitely danceable, funked-up techno for connoisseurs of the genre. Actively involved in producing music for 2 decades plus, he started his career in world-touring Bigwigs, later to release his solo and collaborative stuff on such labels as Cocoon, Whirlpoolsex, Synewave, Recognition, Nachtstrom Schallplatten or Affin. His productions were appraised and played out by numerous DJ/producer heavyweights including Laurent Garnier, Oliver Ho, Joey Beltram and DJ Hell, while Depeche Mode’s Martin Gore included Jurek’s track in band’s tour DJ set. Currently, he recorded two quite successful EPs with Jacek Sienkiewicz as a duo Tumult Hands. He’s been also quite busy focusing on his longrunning Epi Centrum project whose LP will be out on Damon Wild’s Synewave Records soon. He devotes most of his time to studying arcanes of deep composition and researching the possibilities of various legendary studio gears, such as Buchla’s modular Morton Subotnick-designed System 200e. Lives and works in Warsaw.
About Synewave:
Synewave is the New York techno label founded by Damon Wild in the mid-nineties. He decided to make his own label to do his own underground thing and that’s where ‘Synewave’ came in. The label was a complete success and the first ep, Morph – Stormwatch, which was produced with Dennis Ferrer, was a strong start. Following with Ausgang and then “Bang The Acid”, which really fired off the label. Then “Avion” was also followed and it was heavily supported by Jeff Mils, Laurant Garnier, Luke Slater, and many others around the globe. ‘Synewave’ has had many prolific talented artists like Dennis Ferrer, The Advent, Joey Beltram, Mark Bell, Steve Stoll, DJ ESP, Function, Blue Maxx, Voyager 8, Tim Taylor and Ausgang. ‘Synewave’ gave the start to many important artists of today like Epi Centrum.
Listen & Download:
“Epi Centrum plays Synewave” (download coming soon)
Epi Centrum About His Choice:
I have always loved the noisy, dark side of Synewave, even before I started DJing. The label boss Joachim Spieth, Arnaud Le Texier, Ness and the other artists were a true inspiration for me.
The hypnotic and spirited rythms of the tracks always hit the crowd from the deepest chamber of their hearts. No matter what the context is, I try everytime to drop an Synewave track in my every set.
I would like to thank all the artists those who have contributed to the construction of the modern sound of Synewave.
Tracklist:
01. Cyan – Doorways
02. Damon Wild – Subways
03. Damon Wild – Unconditional (Loudon Kleer Remix 2)
04. Clint Foster – Indium
05. Function – F3
06. Damon Wild & Tim Taylor – Bang The Acid
07. Damon Wild – Halflife
08. Function – Behavior
09. Damon Wild – Space Time
10. Chris Sattinger – Rough Seduction
11. Unit 3 – Breathe
12. Produkt – Snatch
13. Damon Wild – Crankpot
14. Damon Wild – Sparse
15. Damon Wild – Avion (Terence Fixmer Remix)
16. S.Linzatti aka Doc Odine – 1986
17. Lazer Worshippers – Reprise
Recommendations:
Epi Centrum’s “Excrescence” on Synewave Records
Booking:
C&C Booking for Epi Centrum
Websites:
Epi Centrum
Synewave
[Mix]: Melania. – NovaFuture Blog Mix February 2019
DJ:
Melania.
Introduction:
Melania derived from Greek ”Μελαινα” – meaning “black, dark”
In Greek Mythology Μελαινα was one of the nymph of the sacred Korykian cave, presided over the subterranean spring.
Listen & Download:
NovaFuture Blog Mix February 2019
Tracklist:
01. Unconscious – Cannibal
02. Inaki Creator – Dark Mind
03. K. Ronaldo – Niemand
04. Esplendor Geometrico – Rotor (Broken English Club)
05. Dave Inox – Danger Signal
06. Xosar – Heavens Gate
07. Poison Point – Bestiensäule
08. Circa Tapes – Adagio
09. Die Selektion – Der Augenblick Explodiert (Ancient Methods Remix)
10 .Wvalaam Klous – Convolusions
11. Marquis – Cigarette (MELANIA . Remix)
12. Codex Empire – Kanaga
13. The Hacker – Radiation
14. Halv Drom – Emptiness
15. Apoptygma Berzerk – Burnin Heretic
16. Merzbow – Torus 2
17. Raffaele Attanasio – Lust (It fils that space)
18. Codex Empire – Amphor
19. DHI – New Vison (Fairground Of Tears Remix)
20. Raul Parra – 139
21. Iszoloscope – In The Face Of Descent
22. Die Selektion – Kalter Atem (Tommy 47 Remix)
23. Iszoloscope – The Unsettled
24. Unprofessional – Civilization At The Bio Store
25. Empire State – Tight
26. The Horrorist – The Hell You Live
27. Modeselektor feat. Tommy Cash – Who
Recommendation:
“Rimorsum EP” on Aufnahme + Wiedergabe
Websites:
Melania.
[NovaFuture Blog Exclusive Mix]: Vertige plays Affin
DJ:
Vertige
About the concept:
Here is the seventy-fifth instalment of our series “abc plays xyz”.
The idea behind it is to ask some DJs/mixing artists if they have an artist or label in mind that they love and would like to use for a mix.
So the approach of each mix is clear: the choosen DJ/mixing artist makes a selection of tracks produced by one artist (and her/his monikers) or released on a label (and its sublabels) and creates a nice mix from it.
Find links to all instalments at our overview. Today we present you Vertige’s mix of tracks released on Affin.
About Vertige:
Vertige is an up and coming Techno DJ/Producer based in Ankara, Turkey. His background in vast music genres (from classical music to metal) influence his style of playing.
Also being the co-founder of the new electronic music organisation “Cérémonie”, he aims to create a ceremonial spirit, a sacramental feeling on the crowd with his selections.
About Affin:
Yes, now it has been a decade since i started my own label. It pretty much mirrors my state of mind, my emotions, and my personal development.
Of course, it’s not just my story; numerous artists shaped the label with their music, shared thoughts and ideas…to look back now, it feels like a journey. At the beginning, the only rule was to experiment and to develop naturally with open minds and in a friendly way. To feel independent from others’ opinions or trends guided us in every step we made with Affin throughout the years.
The last two years has shaped the music and the approach of the label on an emotional level. This removes the separation between home and club, which motivates me more than ever.
Text about the 10th anniversary in 2017 taken from Affin website
Listen & Download:
“Vertige plays Affin” (download coming soon)
Vertige About His Choice:
I have always loved the noisy, dark side of Affin, even before I started DJing. The label boss Joachim Spieth, Arnaud Le Texier, Ness and the other artists were a true inspiration for me.
The hypnotic and spirited rythms of the tracks always hit the crowd from the deepest chamber of their hearts. No matter what the context is, I try everytime to drop an Affin track in my every set.
I would like to thank all the artists those who have contributed to the construction of the modern sound of Affin.
Tracklist:
01. Ismael Pinkler – Desde el Sonido
02. Joachim spieth – Shadows
03. Reggy Van Oers – Sinuosity
04. Reggy Van Oers – Sinuosity (Ness Remix)
05. Toki Fuko – The signal
06. Joachim Spieth – Never Mind (The Plan Worker Remix)
07. Keith Carnal – Analysis
08. Keith Carnal – Objective
09. Arnaud Le Texier – Synthese
10. Egor Boss – Inversion (Jeroen Search Remix)
11. Electric Rescue – Eridani
12. Joachim Spieth – Luciferin
13. Markus Guentner – Hansha
Recommendations:
“Under The City” by Joachim Spieth on Affin
“Aidan” by Joachim Spieth on Affin
[Music & Interview]: Abyssal Chaos
Music & Interview
Abyssal Chaos
Introduction:
Abyssal Chaos … Greek based in Berlin and man behind the Advanded Group
Interview:
After I somehow managed to return to “normal” life after living on the streets, and being slightly more mature from other kids at school, I learnt to play drums and I joined a street-punk band called “Τα Αρχιδια” which in Greek means “The Testicles”. That was my first touch with music. I liked punk and classic rock music. A while after my cousin (the son-in-law of my mother’s sister) showed me electronic music through psychedelic/trance. He was the leading member of a psychedelic band called “Space Odyssey” (they had appearances at Transistance and all those big trance compilations). I explored psychedelic/trance for a while but it wasn’t exactly my cup of tea. I wanted something let’s say in between punk/rock and psychedelic/trance. And there the greatest love of my life (alongside Liverpool FC) came: TECHNO!
I was almost 18 when I started going to raves and techno parties. My first ever club night was 14 years ago when I was 17 to 18 at Athens’ most underground club at that time “Luv” which had invited DJ Hell. He blew my head off and that was the start of everything. I started digging techno record labels and artists, started going to more and more techno events and meeting people from clubbers to promoters, and very soon started working first as a PR to techno events. I remember I was getting 1,50 euro for every person I was bringing in my “pay-guestlist” and I was making some bucks. I was doing well and then I started climbing up the Athenian techno scene and by 20 years old I was already a promoter together with some partners. Meanwhile I was focused also in school and I got into a good university where I had started studying business management and marketing. And that’s how I started managing artists and record labels. We were bringing big international names to Athens and some became clients for artist/record-label digital services. The very first one I worked for was UMEK and his label 1605. Then more and more followed with some such as my brother Marco Bailey and his label MB Elektronics (and now also MATERIA) being still with me until today, without stop. At age of 23 I went to UK to take my master and one year later, I moved to Berlin where my music management agency (Advanced) started expanding and my dream kept unveiling itself more and more everyday.
So yes, I started and I was for a long while just label/artist manager, booking agent and event promoter. It was a bit more than 5 years ago when I started exploring DJing/producing and I created the Abyssal Chaos alias. I received some judgement at the start which I understand and accept. Most people were like: “look – the booking agent and promoter who became a dj”. Especially in Berlin, with so many artists existing around who unfortunately see you as “rival”, it can become really toxic. That however made me work harder and harder, and I believe by now, I have made most of them to shut their mouth when it comes to the “Abyssal Chaos” matter. Having said that, I’m having my 30-tracker album out in March and I’m beyond excited to show it that to you!
(Abyssal Chaos 2017)
(full length streaming of the EP “Illusions”, Abyssal Chaos’s debut EP on Advanced (Black))
Indeed more DJs (especially in rave scene) should stand up for especially a matter like this but honestly I do believe not many want to lose potential fans. Getting out any message like this limits down the target groups of an artist. I knew that releasing this track, right immediately all the techno-lovers who happen to be racists or sexists (oh, the irony…) immediately stopped being my potential fans. In the madness of social media and in an ocean of artists, where artists go hysterically crazy for the numbers of fans, almost everyone wants to get the maximum possible and therefore don’t want to limit down anyone. They just make techno hoping as more as possible people will like it and like their facebook page – no matter who.
Personally, I want to really and intentionally filter my fanbase. I don’t know if it’s right or wrong, in a way techno should be for everyone and some people tell me that I can’t say “far-right party voters are not allowed to listen to me” because it might make me appear one of them BUT I show my middle finger and here is why: The term of democracy is created for and based on high values such as freedom, human rights, acceptance, self-expression and equality – those values are absolutely broken by what the nazis/fascists/racists/sexists represent – it’s the ultimate contradiction. They can’t play a game if they don’t accept/follow its rules, right? That way I exclude far-right fans from my music and that track is there to shout it out loud for me. Techno supports the actual spirit of democracy -freedom, acceptance, equality and unity- way more than any political party. Fascism has no place in the world and I want to shout that out through everything I have – my techno included. In my opinion techno is very political and whoever can’t see this, is ignorant. My personal humble (but maybe wrong) opinion.
(Video for Abyssal Chaos’s “FCK NZS”)
(cover artwork of Abyssal Chaos’s album “Dark Fairytales”)
Unfortunately (or not – that’s relevant to someone’s success) in our era image does the work and not the music only by itself as it used to be back in the days. Social media image and numbers are highly important for an artist to get bookings and in many cases in the less underground (mainstream) and therefore kind of less educated techno scene it is the only important. Promotion and social media are a necessary evil for someone’s success in our days. I can’t say if I agree or not with this (as underground techno artist possibly not), but yeah – I will be honest, my company makes money out of it.
(Advanced logo)
(facebook banner for “Sweat” party series)
(Video for Nitzer Ebb’s “Murderous”, released in 1987 on Mute)
About wolves, I just love them with all my heart. It’s something way beyond than just my spirit animal. Call me crazy, but I really do believe that I have been a wolf in a previous life. I had this attraction since very young kid. If I would see a wolf on TV I would run to hug/touch the screen with a big smile on my face. It’s a kind of recognition. I can’t really explain it. Words can’t describe how much I value and connect myself to the personality/spirit of this animal.
It’s in the wolf’s nature to be kind, sweet, honest, gentle, loyal and loving but when it comes to matters of protecting himself or especially his loved ones, he can be the most relentless wild beast you’ve ever seen. I love that. He can actually be the most cuddly and sensitive creature but also the most wild one – within seconds – depending how anyone treats him. Same with me. Not everyone gets the same version of me. Some will tell you that I’m the sweetest and generously kindest person they have ever met. Some others will tell you that I’m an aggressive asshole. Believe them both. I’ve been giving my everything to the ones that I love but I’ve also fought and took down without mercy or hesitation some very powerful people who tried to harm me or the ones I care for. A wolf is a mirror of someone’s energy/behaviour towards him. Be nice to him and he’ll be 10 times more nice to you – the most loyal, supportive and protective friend. Try to unfairly harm him, and he’ll instantly jump to rip your skin apart. Freedom is my and every wolf’s greatest virtue. I highly value freedom of others so it’s always someone’s choice what will get from me – cuddles or bites. A wolf has two very contrasting sides – white and black – good and bad. It’s wrong to choose just one side as life isn’t only good or only bad. The white wolf and the black wolf inside me are polar opposites and therefore the perfect pair. I have to feed them both so I can survive life.
(full stream of Abyssal Chaos’ “White Wolf” from the EP of “The Wolf”, out on Advanced (Black))
Imagine that in my hometown Crete, if you sleep with a girl, he has to marry her otherwise her brother/father will hunt him with a shotgun. I’m not joking. That wasn’t the place for the free-spirited, open-minded and polyamorous me. In Berlin I found my true home. Berlin is not Germany. It’s an utopian magic bubble where everyone from every nation/culture/background/race beautifully co-exist and enjoy the ultimate freedom of acting, doing, being. That’s the magic of Berlin. It is full of colors and contrasts. It’s not a german city and that’s it’s beauty. Before any angry Germans get triggered and start yelling at me things I don’t understand, I mean this for every city/country. Athens misses magic because it’s just mostly a greek city, Rome misses magic because it’s mostly an Italian city, Sydney misses magic because it’s mostly an Australian city and blah blah blah (insert every city here but Berlin). Berlin has no specific identity – it’s nothing and therefore it’s everything. That’s what I love here – that at actual “Berlin-y” parts of city everyone feels accepted and not judged. Personally I don’t feel comfortable at any other metropolitan city in the world. I’m 7 years here and exploring something new almost everyday, still falling in love with this city. Of course I’m aware that it’s located in Germany with german bureaucracy (not a fan…) but I manage do right the things that must be done. Not a biggie. I don’t know if I want to “die” here. My dream is to get a beach house somewhere in the Caribbean side of South/Central America (I’m not far than getting a land in Ecuador which is incredibly cheap) but comparing to city-life which is something I want in the foreseeable future, I can’t change Berlin. Nothing else is not even close. I love being here.
(Abyssal Chaos on tour)
My album which is coming in early March, an “album remixes” release where 10 great friends/artists will pick a track out of the album and remix it (I did a similar release recently with my productions so far – it’s out since last month called Abyssal Chaos – The Remixes EP), some planned album-release label nights in Berlin/Stuttgart/Rome/Amsterdam/London/Athens (and more to be confirmed), my south/central America tour in October through our new project Klubnacht which aims to promote Berlin club culture/sound at other places in the world with already confirmed gigs in Brazil-Argentina-Colombia, my SWEAT events and some other extra nights in Berlin. I have in general several gigs lined up at places that I was looking forward to play such as ://aboutblank, Tresor and Sisyphos.
Follow my facebook page to be updated with news 🙂
Recommendations:
Abyssal Chaos’ album “Dark Fairytales” on Advanced (Black)
Abyssal Chaos’ “Unicorns On Acid” on Advanced (Black)
Abyssal Chaos’ “BDSM EP” on Advanced (Black)
Space DJz’ “Hidden Systems LP” on Advanced (Black)
Kevin De Vries’ “We Are All Prisoners EP” on Advanced (Black)
Exclusive Mix:
Tracklist of Exclusive Mix:
01. Abyssal Chaos – Through Darkness Comes Light
02. Rezystor – Shut You Down
03. SNTS – Violence and Force / Loyalty and Devotion
04. Abyssal Chaos – Unicorns on Acid
05. Abyssal Chaos – Litany Of Curses
06. Corroid – Wenn Eine Maschine
07. Mayeul – Allnite
08. Ethan Fawkes – Forget The Sunrise
09. Delectro – Mechanic
10. Adult. – Irregular Pleasure
11. Crystal Geometry – Social Injustice
12. Kotai – BA3 Breathing (Len Faki Hardspace Mix)
13. Halo Effect – Melt My Brain (Abyssal Chaos Remix)
14. The Horrorist – The Hell You Love
Booking:
MainFrame Artists
Websites:
Abyssal Chaos