Category: Interviews

 

 

 

Hi Fiedel. Great to have you for our “Music & Interview” series including an exclusive mix. We met each other at Berghain over 10 years ago. For me you were always the underrated Berghain resident – first the people asked “who is Fiedel”, later they focused on Ben Klock and the two Marcels. But let’s start at the very beginning of your music life. What kind of music did you like when you were a teenager and discovered music as a hobby? How did you start with djing and producing? Was there a special event that convinced you to start with it? Did you have bands or other projects before being Fiedel?

In my teenage years, which was in the mid and late 1980s, I was into Hip Hop (Mantronix, Egyptian Lover, Ice T, N.W.A.), Synth Pop (Kraftwerk, Depeche Mode, Off, Yello) and various kinds of Dance Music that were produced in the studio, using samples and loops (Bomb The Bass, MARRS, S-Express, Technotronic) and whatever Acid and House Music came to my ears ( Tyree, Farley Jackmaster Funk, Lil Louis, Phuture, Mr. Lee).

I grew up in Eastern Germany and I used to listen to the radio a lot (Monika Dietl’s Heartbeats Per Minute, Hey Music, Maxistunde, Duett – Musik für den Recorder) and I recorded tracks I liked on tape, because records weren’t available.

Eventually I started playing those tapes at school parties, sometimes together with friends. After the wall came down, I started buying and playing records. At Hard Wax I met DJ Niplz, who invited me to play at a the queer Monday night event at Subversiv he organized with some friends. This became my first public gig playing records. In my hometown we used to throw parties as a small collective and Shed was part of it back then.

The first proper gear I used when I met Erik „Errorsmith“ through Niplz. They were producing a track together for a Bunker compilation. That was 1994. I was impressed by the way Erik tuned his analog synthesizers. Cables came out of the devices and were connected to some electronic circuits hanging in the air. We started to jam with his stuff. I thought the music was good and I definitely wanted to play it out. We released our first record in February 1996.

 

 

As mentioned above you are resident at Berlin’s most famous techno club Berghain. Please tell us how this happened. How did the situation/relationship change over these many years? What’s special for you when you play there?

I used towork at Hard Wax together with Cora S. She played at Ostgut already and she proposed me to them, because they were kind of looking for DJs. They liked it and that’s how it started. I play there regularly since Summer 2000. Marcel Dettmann, nd Baumecker, Boris and Nick Höppner were also playing there at that time.

When Ostgut had to close, everybody was kind of sad, but a new venue was found soon. I saw it a couple of times, way before it opened. I was asked for some technical solutions, for instance how to rig the light above the Berghain floor, because I have a degree in Theatre and Entertainment Engineering and could apply my expertise that way.

When the venue first opened in September 2004, there was only the new Panorama Bar, and all the regulars were playing there. My first gig at the actual Berghain floor was the incredible b2b closing with Marcel Dettmann at NYE the same year.

It was quite tough for the club in the beginning, I remember. But with excellent bookings and the rising interest of the younger crowd for Techno it became the famous place it is now. I saw one of my all-time heroes, Egyptian Lover, for the first time there, when he played at Panorama Bar in 2006, probably his first gig in Germany.

The whole DJ thing developed into a big business over the years and Berghain also became more complex and more professional. My gigs at Berghain are still very special to me. Taking the fact that I play there for about 14 years by now, I have to re-invent myself all the time to stay fresh. Part of it is to explore all the other floors the venue has to offer. Last year I played House at Panorama Bar, which I didn’t do for a long time, a Bass set at the new floor Säule and an Ambient closing for NYE at Halle, which is opened only for special occasions.

 

 

At the beginning of 2018 you also started a residency at Khidi in Tbilisi, one of the important clubs outside of Europe. Another one is Bassiani. A few weeks ago there were police razzias at Bassiani and another club, so both had to close temporarily. This led to demonstrations and protests in front of the Georgian parliament. Khidi supported the actions and took part in the demonstrations (read here and here on Resident Advisor). But back to you. Who had the idea for your residency and how did they/you get in contact? When did you travel to Georgia the first time? Many DJs going to Khidi and Bassiani were flashed and liked it very much. How was your first DJ experience there? What do you think about the situation in Georgia? What about the country?

My first gig at Khidi was in May last year. And yes, I was flashed. The venue is amazing and the energy on the dancefloor was the kind I felt back in the 1990s: raw and genuine. In Summer last year the promoters asked me, if would like to become a resident there. And of course I wanted to!

I like Georgia a lot. The people there are generally friendly and I enjoy their hospitality. The country itself is in the process of opening up towards the rest of the world, especially towards Europe. There are still traditional elements in culture and politics that will work against it, but I guess that is quite normal in such a process. I also link the recent events to this. Hence it was very important that the nightlife community in Tblissi presented unity and went on demonstrating for their future. Khidi even closed their doors to show solidarity with the otherclubs and took part in the protests with their artists.

End of August I will play on the Khidi stage at Echowaves Festival in Anakli on the Black Sea shore and also for Khidi season opening after the Summer break in September.

 

 

You are responsible for the latest instalment of the famous mix series from Berghain. How did you select the tracks and work on it in general? Did you need a lot of time for preparation? What are the main differences when you prepare for a recorded mix and a club DJ set?

The preparation of the Berghain mix took a few months. There were many things that we needed to pay attention for, like the production plan for the 12“ that came out along with the mix, licensing issues and more general questions.

When collecting the music, I had a special vibe in mind that represents my very own Fiedel-style: a good portion of funkiness, a bit of roughness and the inclusion of various styles. So I approached artists I liked for their music. I chose older tracks that represented my musical history, new tracks that I played out recently and also unreleased material. Some of the artists had tracks that I wanted right away and some especially made tracks for that purpose. Step by step I had a nice selection to choose from. First task was to get the Berghain 08 E.P. together. On this 12″ I wanted to create a balance between female and male artists, and so I chose two female artists to be the first tracks on each side. Plus, all of the 4 tracks needed to be featured in the mix.

For the mix itself I realised my early idea: since it is a club related mix series, why not record it live at a Klubnacht? I wanted to take the audience on a little journey and try to give them a little taste of the dancefloor. Since the format has changed from a CD to a downloadable podcast that also could be streamed, the only limitation was the filesize. Given that information I knew, that the mix could be about 2 hours long. Enough time to tell a little story. That story was important to me, because people would listen to it everywhere but in the club. So I tried to keep it interesting for the listener and yet danceable.

 

 

The mix was for sure not the first recording for the Berghain’s inhouse label Ostgut Ton. You released there the EP „Substance B“ and contributed to 4 samplers/compilations. Was it a natural step for you to release for the Berghain label being resident at their club or was it necessary to convince you? How did you work with label guys on a release? Did you produce on request or did you have a bunch of finished tracks and you just selected the ones best fitting?

In the past I did tracks and if I thought they might fit to the label, I sent them in, so they could decide wheater they take it or not. That was also the case with “Substance B”. They found it fitting to the label and so they released it.

 

 

One of your latest releases is the track „Troll Bait” on the second Seelen compilation. Could you please tell us something about that track and the compilation? How did you get in touch with Janein, one of the guys behind the Seelen label? You also played at their record release party for Seelen.001 in Leipzig earlier this year. How was it?

I met Jan at Sation Endlos a couple of years ago. This was a nice litte world of it’s own like in a fairytale. We stayed in contact and he asked me if I would like to contribute a track to the first compilation, but I had no time for it, because I was preparing the Berghain mix back then. It worked out though for the second compilation. When I heard the tracks of the first edition I immediately liked it. A very diverse techno compilation, which incorporated a quite spooky touch. That mood gave me inspiration for my track “Troll Bait”. The party at IFZ was great. I liked the location and the flexibility of the crowd. I play in Leipzig for over 20 years every now and then, and is always nice to be back in that wonderful city.

 

 

Together with Errorsmith’s Erik Wiegand you release under the moniker „Messe der Meister von Morgen“. How do you work together? Who is responsible for which part? How looks the production process? What are main differences between working on your solo stuff and on tracks together with Erik? Which equipment do you use (solo & on collaborations)? You also contributed to the Kilekill „Megahits III“ with a MMM track. How did this happen? What is your connection to Killekill?

Me and Errorsmith do music together since 1995. As MMM we are selfreleasing artists to keep the most freedom and control about what and when to release. This is the first time we gave an original track to a another label. I know Nico from Killekill quite a while and he is a big MMM fan. He was looking for tracks for his new compilation which featured some really good and not necessarily mainstream artists in the past. Our track “Infinity Crash” with its rather dark mood fitted perfectly to this compilation. In production we don’t have a fixed set-up that we work with. Most of the times our tracks start with just a tiny piece of an idea, a melody, a sample, a beat, and we develop the track around it. Sometimes we have loops that we jam live and we do a studio version of it later on, like it happened with “Nous Sommes MMM”.

 

 

You also run the two labels FiedelOne and FiedelTwo. FiedelOne is for your solo stuff and FiedelTwo for collaborations in different ways – like the „Appendix“ release with many tracks you used for the Berghain mix. How do you decide if a solo track is more fitting on Ostgut Ton record or for FiedelOne? Or will you release on FiedelOne again (the last one was released in 2015)? What about the collaborations on FiedelTwo or the track selection for this label? How comes it to these gettogethers with other artists? o you just create something new and then decide to release it there or is it more a „let‘s make a new FiedelTwo record? What do you think about label work in general (organising a pressing, doing promotion etc)? Do you like being a „label boss“? Is it difficult for you to “survive“ nowadays when a record is out-of-fashion one month after his release?

Ostgut Ton released only one 12″ along with the Berghain mix and the tracks were already selected for that. So I released some of the new tracks on FiedelTwo. I think, we have kind of a collaboration here, in terms of creating together a special flavour for the mix.

You can imagine all different types of collaboration on FiedelTwo, doing remixes, working on a track together, or adding ideas to tracks. I am looking for music that I can relate to and don’t go for the big names. FiedelOne it is more my own little world, with the freedom to do what I want.

 

 

As we know you are also involved in organising the event series „Wax Treament“ that is strongly connected with the record store Hardwax. Please tell us something about your involvement.

I am part of the small team that organizes Wax Treatment since 2009. I am also responsible for the Killasan sound system since it came to Berlin in 2001 and do the sound engineering at events. This sound system is the trade mark of our Wax Treatment series. It is a Jamaican style sound system which comes originally from Japan. It has a powerful bass section and we usually set it up as a wall of sound, because this is the way they do it in Jamaica ever since. It looks and feels best that way and our guests are facing the speakers rather than the DJ. Wax Treatment features bass heavy music like Reggae, Dancehall, UK Funky, Dubstep or Drum’n’Bass. Two years ago we found a new home base for our quarterly events at Grießmühle.

 

 

In your eyes you are a DJ with a diverse repertoire. Could you please name 10 records that are very important for you (and your musical development) and why they are?

Let’s take my alltime top ten here as featured in a mix on Soundcloud (see below).

01. Bug In A Bass Bin by Innerzone Orchestra
I love Jazz and this is a wonderful combination of loops and jazzy elements.

02. Blackout (Phase I) by Lil Louis
My favourite when I was a teenager. So powerful and ahead of time. I still play it.

03. Sonar 123 by Anthony “Shake” Shakir
One of the most beautiful spacey Techno tracks by my favourite electronic producer.

04. What’s On A Moog’s Mind? by Redshape
Pure analog synth power. The youngest entry into this list.

05. Altered States (Southside Terrace) by Ron Trent
Is it House or is it Techno? It doesn’t matter.

06. Un, Deux, Trois by Idol Making
A rough and funky track from early Detroit. Just like I love it.

07. Alleys Of Your Mind by Cybotron
I love the vibe of this superb mixture between Electro and Techno.

08. Mentok 1 by LFO
This reminds me on my rave experiences in the early 1990s.

09. High Energy (Instrumental Dub) by Evelyn Thomas
High Energy is Disco in beast mode. Very driving track from this genre.

10. Ghetto Blues by Ghetto Brothers
Funky breaks in fine Detroit style.

 

 

Oh already 1 or 2 questions over the limit but for sure we have to ask you what’s coming next… What are your (near) future plans? an album on Ostgut Ton?

Right now I work on different projects, prepare events or develop ideas also for a live set and for DJing, but most of them are not ready yet to talk about.

Some music will come out later this year, so keep an eye and an ear open. For now I would leave you with my/our recent appearances on the following compilations, all released in June:
– MMM „Infinity Crash“ on Killekill Megahits III
– Fiedel „Doors To Manual“ on Night Slugs Allstars X
– Fiedel „Troll Bait“ on Seelen.002

In early 2019 there will be a new piece of comtemporary dance by Frederic Gies with a live performance by me. We work together for five years now and our last performance was at Malta Festival in Poznan in June:
http://www.artstationsfoundation5050.com/dance/wydarzenie/dance-is-ancient/3395

You can catch some sound here at the following events in the near future:
10.08. Ostgut Ton Nacht at S舫le/Berghain, Berlin, DE ・ Bass Set
19.08. Wax Treatment at Grieﾟm・le, Berlin, DE ・ Killasan
25.08. Khidi Stage @ Echowaves Festival, Anakli, GE ・ Techno Set
31.08.-02.09. Killasan @ Carhartt booth at Bread & Butter, Berlin, DE
09.09. Dance Is Ancient ・ performance at the Museum of Contemporary Arts, Porto, PT
14.09. Season Opening, Khidi, Tbilisi, GE ・ Techno Set
22.09. Klubnacht at Berghain, Berlin, DE ・ Techno Set

 

 

 

 

 

 

 

 

 

Hello Oliver, it was cool to meet you again at your Berghain a few weeks ago – a real pleasure to listen to your powerful set. So we are happy to have you for our „Music & Interview“ series. Let‘s start at the very beginning of music life. What kind of music did you listen to when you were a teenager discovering music as a hobby/love? When did you start the first time to spin some vinyls? What was your reason to start with playing records to an audience and producing own stuff? Any other projects like being in a band etc before that?

Thanks a lot! I listened to a lot of Hard Rock, all kinds of Metal and Hardcore as a teenager. We also organized parties where I was responsible for the music. So first I was a more a ‚Rock‘ Dj. On those parties I Played stuff like RATM, Tool, Ignite, Pennywise, Slayer and so on. I started then to go to Techno Parties around my hometown in South Germany. Sometimes we drove to the Omen club in Frankfurt to see Sven Väth at his friday’s parties. I became a Techno DJ a bit after I moved to Berlin in 1998. Producing my own stuff was just a normal development for me then. I started with a Korg ESX 1 Sampler. Even did my first Live sets only with that little machine.

 

 

You played very often at Berghain. You also played there a few weeks ago. What is special for you playing at this club many clubbers speak about? What was your relationship to the crew in the past? What changed over the years? Any other clubs you like because of some special experiences there? You also play some festivals this summer e.g. Her Damit Festival (you also contributed for their first EP). How do you prepare a set for a club night and what’s different if you prepare something for a festival? Please also tell us some of your strangest experiences being a DJ?

It’s always special because its just still the best club in the world for me. They are simply professional on all levels. Plus the crowd, who can be super enthusiastic and willing to rave. There are a lot of other clubs or promoters around the world I really like of course. UKW Kraftwerk in Rostock, Rottweiler Bar in Gothenburg, Forum in Bielefeld, the Überhaus crew in Beirut for example. It’s just too many to mention. And, I never prepare for a gig. I only know 5 minutes before my sets what will be my first track. Strangest experience? I had a lot. Good and bad ones. But one time a guy offered me a blowjob while playing. On a 2 meter high stage with no curtain hanging from the booth table. Not really discret, haha.I found this really funny. Gig was amazing though!

 

 

One of my first records you were involved was Gowentgone, your project with Stephan Hill released on your label Vidab. What was initial moment to create this project and found the label? How did you work together? Which equipment did you use? The latest Gowentgone release listed on discogs was released in 2010. Is that project finished?

We created vidab because no label wanted to release our gowentgone tracks. It was really frustrating trying to get into that business as producers. So we decided to set up our own label. We asked some friends to give us their music, did some kind of application with artwork, music, our ideas and sent it to Kompakt. Luckily Michael Mayer loved the stuff and so we signed a distribution deal with them. Finally we were able to release our and our friend’s music. Best decision ever. And a big thank you to all the labels that didn’t give us a chance. Without you this would have never happened! We used mainly Korg hardware to do our gowentgone stuff. Our track ‚Love & Respect’ that was sold very good got finished in three hours. That shows that you just need a good idea to do a great track. Which or how much expensive equipment you use is secondary. And btw, we just released a remix for Faltin a few weeks ago on the vidab X series. You can definitely find it on discogs now.

 

 

 

 

 

 

 

 

 

 

Hi Mike. Nice to have you for this „Music & Interview“ feature. Let‘s start with a small introduction. You were born in Canada. How was your youth there? What music did you like being a teenager? Tell us something about your life in Canada please.

Nice to be here Jürgen. Thanks for inviting me. My youth there was good. When I was very young I moved some hours from Toronto to a small village where I grew up. A place where winter is a synonym for hockey and there weren’t many strangers.

As a teenager I listened to lots of different genres but I guess rock and it’s more progressive varieties mostly. Like Fugazi, Mars Volta, Portishead etc, I’d say a fair share of trip hop. Also a lot of soundtracks in my youth for some reason, but I will admit not really any good ones, I just liked soundtracks as a kid. I gravitated towards punk and metal in my early 20s as I played drums and enjoyed playing fast and the political leanings, and later more funk, jazz and world music when I started university. I guess I’ve always been a product of my environment.

 

(Mike Davis Promo Pic 1)

 

You now live in Berlin, a city that seems to be very attractive for young people & artists. What was your reason for moving here? Did you already speak German when you came here or did you learn it after your arrival? Was it difficult to get into a new life, looking for new friends etc? Please tell us something about your start in Berlin.

My reasons weren’t just artistic ambitions. I took a German literature course (in English) in uni and became interested in Berlin. Also my father is from Ireland so I had an EU passport that seemed like a waste not to try out. I had played a bit and was learning some production but I originally came for an exchange at Humboldt for my final year. Couldn’t speak a word of German, but had to take German classes for the program and kept it up at the Volkshochschule for a few more levels, so now I get on fairly well.

No friends can be nice, I wanted to focus on music after studying so getting into a new life just meant getting into music, a new language. I’d argue the will to learn a language eases said “new life” difficulties. You can enjoy pretty mundane things and situations, alone or otherwise, if you’ve always got language in the back of your mind. Anyway, I had my old ambitions in this new setting, it was exciting.

 

 

Let’s talk about techno. When did you discover it as one of favourite styles? Who were your techno heroes? Which tracks did you like becoming an addicted for techno? Which other styles do you listen to?

I’m a pretty late bloomer with techno. It was always marginally in my life, but in strange ways. For that reason I never really had any techno heroes or anticipating or following particular artists. Now I get a lot of fulfillment from looking backwards and finding my thing. If I had to pin it on something, and this probably sounds pretty lame, but around 13 or 14 years old I remember listening to the Orgy cover of “Blue Monday”, I think on a mix cassette I had. One of the first encounters with some mechanical, slightly metallic percussion. Also Rammstein’s “Du Hast Mich”, insert “Firestarter” and “Voodoo People”, and there I was. This was probably the nascent beginnings of my techno, definitely hinged on the intersection of genres. Some other titles that stick out …

KLF – 3 A.M. Eternal
808 State – In Yer Face
Pet Shop Boys – So Hard (Extended Dance Mix)

 

 

Canada has a very famous protagonist of the techno world: Richie Hawtin aka Plastikman aka aka aka … Could you please give us an insight into the Canada music scene esp. electronic music? Someone unknown who we should check out?

Tough one, the Canadian music scene as a whole is quite vibrant, especially for such a sparse territory. I was much more familiar with Canadian indie music of the 2000s than electronic. Canadian indie of this time was pretty great. I kind of wanted to make music seriously, but it wasn’t until I attended Mutek in Montreal in 2011 that I felt like the community was something for me. He’s not Canadian, but experiencing Amon Tobin’s “ISAM” at Mutek was pretty instrumental in my accelerating my interest in electronic and making original stuff. After that I spent more time going to the shop Play De Record, and linked up with a crew throwing some underground parties, which I found much more accessible and interesting than the legal scene in Toronto. I think it was only after I left that I began to notice quality bookings (in my opinion) in Toronto, beginning to show an eclecticism that could rival anywhere. For instance Unsound Toronto, Forth, etc..

I would recommend checking out Maxwell Church and Benjamin Wood. Two very talented Toronto guys, but I know they are both really busy with life. I think Basic Soul Unit is aware though and is nurturing some fresh Toronto talent with with Jason Ulrich and their Lab.our project. Admittedly my Canadian lens is pretty central but I’m a fan of Local Artist and Cloudface out on the West coast.

 

(snippets of “Lab.our 07” by Maxwell Church)

 

From Canada to Berlin. What do you think about Berlin’s techno scene? There are a lot of well-known clubs like Berghain, Tresor, Watergate, about blank just to name a few. Also many producers live in Berlin. Many people see Berlin as one of most important creative cities in the world. What’s point of view from a Canadian guy?

At least visiting Berlin and it’s clubs is valuable if you want to make music or DJ. It chamged my understanding of how techno is consumed and indeed nurturing my own consumption in a different way than Toronto had. However as mentioned before, other cities are taking cues from places like Berlin and forging their own respectable path, and it is in my opinion not necessarily a creative advantage to be here. I think you should approach music very personally, so doesn’t really matter where you are. Of course there are more clubs and parties here, any day of the week, especially throughout the summer, but at the same time it becomes a challenge to isolate yourself from the activity of everyone else to really do something unique. Berlin hast also lost much of the affordability factor, but at the same time it’s in the middle of Europe, so it’s very practical. Important thing is not to dwell on comparisons and just be yourself, and that’s just a choice.

 

 

I know you for some productions but unfortunately never have seen you spinning records because you don‘t do it so often, right? Why? Is there any reason? Are you more into producing than into djing?

Yeah it’s been a while, but I’m not really more into one more than the other. After some gigs here I thought it was more worthwhile to work on my position, in part I wanted that to derive from production, because I like the idea of contributing in that way, to a musical Canon. I don’t mean it’s necessary, there are people who prove doing both is not necessary, but I would prefer to do it. I love to make music.

I was playing funk and disco records in a little bar every month for a while, the odd gig in some bigger clubs through some friends and networking but it was more like playing for a party instead of really enacting myself on the decks. Next day I would make techno in my bedroom. There wasn’t much continuity, fun but I was a bit of a lost cause.

A couple years ago I was in a shared studio space in Lichtenberg because I was also making electronica with some mates. I set up some monitors and I would use the studio on the days we weren’t rehearsing. This first taste of making music in a studio setting was it, techno felt the most free. I’ll just keep developing my sound and hopefully it will form something cohesive that could generate some activity, I’m still young 😉

 

Apropos producing. How do you produce your stuff? Where are the ideas coming from? How do you start with the production of a track? Which equipment do you use for it?

With a mix of gear and software, and no set way of mixing them together. Sometimes using one or the other only. but almost always in the confines of Ableton, which is nice. Not sure where ideas come from but I notice technology is increasingly dictating them. I usually start a track by following or resisting my first instinct when approaching my gear. But I also come up with ideas at home, even with just the midi notes, or really basic ideas, and then take them to the studio.

My equipment consists of some outboard stuff, synths, compressors, pedals, my modular, a small console, lots of vsts and digital processing.

 

(Mike Davis’ track “Communiqué From An Absent Future 2” on BRENDA008)

 

Beside creating your own tracks you also run a nice label called Brenda. When did you start it? What‘s the idea behind it? Who has released there? How do you select the tracks for the next release(s)?

The impetus for starting Brenda was to release Francesco (aka CNCPT)’s music, also with the intention to start putting out my own music at some point but at first it was just to give CNCPT a platform. We met when he was working the bar at a restaurant beside my flat at the time, which I guess was around the end of 2014. Eventually he showed me some of his work and I almost immediately proposed we put it out. He agreed to it and we did some white labels and I distributed it myself, we’re working on the label together now and soon we’ll be on our 10th release.

Just the two of us so far on the roster but we listen to demos, and “Company” was created for the collaborations that ended up happening. We share a studio out in Köpenick now so it’s all kind of happening in one place. Selecting tracks usually by either of us collecting a set of tracks that we think could work, listening and discussing.

 

(snippets from BRENDA00p by CNCPT)

 

We talked about your favourite music in the youth, about Canadian artists, Berlin‘s scene.. so we would like to know your 10 favourite records of different genres and why they are so important for you.

Okay here goes.

01. Let’s Call it a Day by Move D & Benjamin Brunn (Bine Music)
Some of my first and still finest downtempo for me, getting to know this one and much of Bine was important for me.

02. 62 Eulengasse by Pete Namlook & Tetsu Inoue (Fax +49-69/450464)
Just about any piece or album from Fax could be here but something about this particular result. RIP Peter Kuhlmann.

03. K&D Sessions by Kruder & Dorfmeister (!K7)
Brings me back.

04. Step Three by Blo (Afrodisia)
Nigerian psychedelic gem

05. The Increased Difficulty of Concentration by Air Liquide (Sm:)e Communications)
Wonderful collection from some legends that transgresses brainwaves.

06. London is the Place for Me (Parts 1-6) by Various (Honest Jon’s)
6 releases in this series but it’s a gorgeous collection of Calypso jazz beautifully compiled and packaged, always puts me in a good mood.

07. Newbuild by 808 State (Creed Records)
Have tried to buy this twice and both times it was “lost” in the post.

08. Low by ESP (Synewave)
Common reference point for me.

09. Time Explored by Clementine (Djax-Up-Beats)
Some of my favourite Luke Slater prod. material comes in the form of Clementine, this is the one I have.

10.Dummy and/or Portishead by Portishead (Go!)

 

 

We are already reaching the end of our small interview. And as usual I would like to ask you what‘s coming next. Any new releases on Brenda? Own productions? Any DJ gigs?

Yes sir, BRENDA009 should be out on the 27th of April, and then I’ll release another EP, to be followed up by another Company release and bringing us into autumn. Might have a remix surfacing on New York Haunted as well. I’ll be playing in Brussels at the end of May but few details as of yet.

Thanks a lot Jürgen.

 

Thanks for this cool interview & the great mix