[Music & Interview]: Fiedel


Music & Interview


Fiedel – Berghain resident, Ostgut Ton artist, founder of FiedelOne & FiedelTwo …

Artwork for the feature and mix is based on a photo by Paul Krause



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.


Fiedel 1
(Fiedel Promo Pic 1 by Danny Croucher)

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.


Fiedel 2
(Fiedel Promo Pic 2 by Paul Krause)

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.


Fiedel 3
(Fiedel Khidi residency announcement)

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.


(mix “Berghain 08” by Fiedel)

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.

(the29nov video of “Track 432”, taken from O-TON 102)

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.

(full stream of “Troll Bait” by Fiedel, taken from “SEELEN.002”)

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”.

(stream of “Syncro” by 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.


Fiedel 4
(Fiedel Promo Pic 4 by Danny Croucher)

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.

Fiedel 5
(Killasan sound system)

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.


(Fiedel’s all time favourites in a mix)

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:

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


EP “Substance B” on Ostgut Ton
split EP “Distances” w/ Fiedel tracks on Pure Traxx
sampler “Appendix – Double Mixpack EP” on FiedelTwo
sampler “Berghain 08” on Ostgut Ton
Fiedel’s mix “Berghain 08” on Ostgut Ton
compilation “SEELEN.002” w/ Fiedel track on Seelen Records
compilation “Various” w/ Fiedel track on Ostgut Ton
compilation “Fünf” w/ Fiedel track on Ostgut Ton
compilation “Zehn” w/ Fiedel track on Ostgut Ton
compilation “Megahits III” w/ MMM track on Killekill


Exclusive Mix:


Tracklist of Exclusive Mix:
01. Velocette – Bell Du Jour
02. Forest Drive West – Show Them
03. Andy Mac – Asteroid Belts
04. DJ 3000 – Prawler. Motech 004
05. Rose & Ulysse – Mother Earth (Philippe Petit Remix)
06. Sugar Experiment Station – No Wonder She Hates You
07. Four Tet – Jupiters (Happa Remix)
08. Ennio – Giza
09. DBX – Losing Control (Ritchie Hawtin Remix)
10. DBX – Beat Phreak
11. Purveyors Of Fine Funk – This Is A Track
12. Bastien Carrara – The One (Drums Mix)
13. Gladkazuka – Futuro Caos
14. The Untouchables – Yeah C’mon
15. Gerd – Freedom
16. Mike Dunn – Set Me Free
17. Robert Hood – Untitled
18. Shake – Simpatico


Ostgut Booking


Fiedel @ Facebook


[Music & Interview]: Oliver Deutschmann


Music & Interview
Oliver Deutschmann


Oliver Deutschmann, founder of the labels Vidab and GKNSTR, who plays irregularly at Berghain



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.

Oliver Deutschmann 1
(Oliver Deutschmann Promo Pic 1)

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!

Oliver Deutschmann 2
(Oliver Deutschmann Promo Pic 2)

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.

(the29nov video for Oliver Deutschmann’s “Darkness Falls”, Vidab 2013)
Vidab and the sublabel Falkplatz was also one of the first labels for Ed Davenport – with a housy sound. He also released there an EP called “Inland”, a name he used later for his techno moniker (first record “EP X” on Vidab too). You also produced a few EPs together. How did you discover Ed in the first place and what was the reason for signing him on your label(s)? What was the difference between working with Ed and working with Stephan on a record? Did you use similar equipment? Was it a total different way of producing?
I met Ed around 10 years ago when he moved to Berlin. He did a remix for my second Ep on Konsequenz that I did with Koljah. We got friends and met in our studios from time to time. Ed is a great guy, a very good friend and an amazing producer. All these criteria led to all those releases. I’m happy that I had the chance to release his first Inland stuff on Falkplatz and vidab. And he definitely gets now the attention he deserves for that project. With Stephan the production process went a lot faster because the gowentgone stuff is so simple, but effective. With Ed I set a bit longer on each track, diving a bit more into the production process. I like both ways of being creative. Using your instinct and also being analytical in the production process is very important in my opinion

(the29nov video for Ed Davenport’s “Living Rooms”, Slim Audio 2012)

On Vidab you also released our album “Out Of The Dark”. How do you work on an album? Is it something like a collection of lose club tracks just tied together? Or do you follow a concept? Is the composing process different? As we know this is your only album. Any reasons for that? Is it easier to produce a solo record or do it together with guys like Stephan and Ed? What about the process and the equipment?
I wanted to release another album since quiet a time now. But I didn’t feel pretty inspired to do one. Don’t know if it should be a couple of clubtracks or something more arty. I wanted to release a bunch of good Eps on good labels before I do one again. So, now could be the time to work on that. Let’s see.

Oliver Deutschmann 3
(Oliver Deutschmann Promo Pic 3)

Besides Vidab you also run the label GKNSTR where you release under the alias Orion. Why did you set up a new label? What does it mean for you running an own label? Who is Oliver Deutschmann and who is Orion? What characteristics make them different?
GKNSTR I set up just because I wanted to try out something new. Releasing stuff from known producers under unknown project names. Focussing on the music only. Worked pretty well. Especially with Cadency (Hector Oaks) or Hysh (Niereich). Orion i created to do more deeper stuff. Just to unbind from my Deutschmann productions. I’m producing so many different stuff that it is just impossible to release everything under one name. And of course it is also refreshing for myself to create new projects and to surprise people.

(full stream of “Warehouse” by Cadency, GKNSTR 2016)

On GKNSTR there is an unofficial remix of Depeche Mode’s “I Feel Loved” made by you. Why did you use this track for re-editing (not a hit like “Enjoy The Silence”)? What role plays/played this band in your life? What are your musical influences?
I have different vocal samples from Depeche Mode. The ones for ‚I feel loved‘ just touched me the most so I started to build a track around them. I am a big Depeche Mode fan since ‚People are Peole‘. My ,mother bought me the 7“ single back then. Unfortunately I lost it in a moving years back. My influences go back long. Used to sit in my uncles room as a little kid listening to his vinyl collection. Pink Floyd, The Who, Deep Purple, Neue Deutsche Welle and so on.

(Oliver Deutschmann’s remix of Depeche Mode’s “I Feel Loved”, GKNSTR 2015)

Apropros remixing. There are several Oliver Deutschmann remixes? What are criterias to agree on making a remix? Do you enjoy creating a new version of an existing track or is it something you have to do because it is part of the business/scene?
I have to like the original track. That’s it. Then I do it. And, yes, mostly I enjoy to do it. Depends on the samples I get. When the samples sound good and there is, for example, progression in the synth samples it’s pretty easy.

Oliver Deutschmann 4
(Oliver Deutschmann Promo Pic 4)

Some releases that also got our attention are the 4 Archive EPs and the mix CD “Futureworld” on Slim Audio – incl. a movie by the29nov films. Slim Audio was a label started by Slim Magazine. Unfortunately not much information about the label and the magazine can be found – also the movie is not available anymore because their website is down. So could you please tell us something about it? How was it to work on releases with such a label (owned by a magazine)? The EPs were named „Archive“, so these tracks existed on your drive already for a while? Are you someone who produce a lot of stuff that never get released building large archives of tracks?
The magazine isnt existing anymore. The label is. I’m running it with James Blonde, who is also doing the Sweatlodge Agency. But I use this only for my own material now. Doing nearly no promotion. I’m only sending the promos out from my own mail account. Its just pretty easy to release my stuff there. Its digital only, I also do the mastering on my own. The artwork photos are shot by my daughter. So we have the full control about everything. Absolutely no compromises to do. I love that. And yes, I do tons of loops and tracks. Most of them will never get released. Some of them on the next Archives, maybe!

(the29nov trailer for “Futureworld”, Slim Audio 2012)

We mentioned the video crew the29nov films above (and already used some of their videos for this feature). They made some videos for your tracks. More and more such crews popped up in the last months/years. What do you think about making videos for techno? Are they helpful while promoting a release? Nice gimmick? Had MTV (and music videos) an large impact on you in the 80ies and 90ies?
I was a big fan of MTV and Viva in the 90ies. So, of course this had a big impact on me. And I always appreciate it a lot when somebody does a video for one of my tracks. Especially the 29nov guys. They are really talented I think. And yes, I think it helps a lot to promote a track or an Ep if you have a cool video.
Your latest release was on Mote-Evolver, the label run by techno pioneer Luke Slater. Tell us please something about this release. How did you get in touch with Luke to get these tracks released? 3 of 4 tracks have strong vocal samples. So how did you produce the EP and where did you find samples like this?
Luke wrote me and asked if I could imagine to release an Ep on Mote-Evolver. No question! I sent him some stuff and he chose 4 tracks. Everything went super easy. The vocals I sampled from youtube. I think I took them from motovation speakers, buddist nuns and priests or so. Cant really remember as I sample so many vocals from there. All those tracks I produced in the first half of 2017. It was a real productive time for me as it was clear that I will move out of Berlin in august and have to give up my studio there. So, I worked like crazy to have a lot of finished tracks before my moving.

(snippets of Oliver Deutschmann’s EP “Lost In A Loop”, Mote-Evolver 2018)

You released on several label – some run by yourself. How do you select a label for your stuff?
Well, mostly I got asked and if I like the guys behind it and the label I do it. Most important thing for me is to work with people I like, with people that are kinda easy going. Just like me.
YWe are aleady at the end of our small interview feature. For sure we have to ask you what’s coming next… Any special gig? New records? What are your future plan?

Playing Shanghai and Bejing the first time in august. Looking forward to ‚Her Damit‘ in september of course. Also my new project S.M.O.D. is going pretty well with upcoming an Ep on Second State. And I still wanna do another album if I find inspiration for that.


Oliver Deutschmann’s “Lost In A Loop EP” on Mote-Evolver
split EP “The Source 1/4” w/ Oliver Deutschmann on Her Damit Tonarchiv


Exclusive Mix:


Tracklist of Exclusive Mix:
01. Bylly – Drowned In Time
02. S-File – Escape
03. Andres Campo – No Feelings
04. Hertz Collision – Dwarf Star
05. Blawan – Kalossi
06. Mod3llr – Stationary
07. SCB – Traffic on the Hyperway
08. Helena Hauff – Lifestyle Guru
09. Herzel – Two
10. Blue Hour – Unearthed (Ctrls Remix)
11. Glaskin – Heliosphere
12. Damon Wild – Rotary (Slam Edit)
13. Swart – Devil Within
14. Davinson – Rave Nation
15. Fjaak – Gewerbe 15
16. S.M.O.D. – Trunk
17. Oliver Deutschmann – Seduced
18. Elad Magdasi – Water Damage


Sweat Lodge Agency


Oliver Deutschmann


[Music & Interview]: Mike Davis


Music & Interview
Mike Davis


Mike Davis is a Berlin based Canadian who founded Brenda in 2015. Also releases under a collaborative project Company.



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 1
(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.


Mike Davis 2
(Mike Davis Promo Pic 2)

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)


Mike Davis 3
(Mike Davis Promo Pic 3)

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.

Mike Davis 4
(Mike Davis Promo Pic 4)

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!)


Mike Davis 5
(Mike Davis Promo Pic 5)

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

Mike Davis’ “Communiqué From An Absent Future EP” on Brenda
Mike Davis’ “Communiqué From An Absent Future EP” on Brenda
Mike Davis’ “Invisible Line EP” on Brenda
Company’s “Metrical” on Brenda
CNCPT’s “Peonia” on Brenda


Exclusive Mix:


Tracklist of Exclusive Mix:
01. Electric Indigo – Second Organ
02. Nebulo – Fake Cadillac
03. Cosmin Nicolae – Sector Acuamarin
04. Plant43 – Grid Connection
05. In Aeternam Vale – Non
06. Chevel – The Call
07. Shifted – In Equal Measure
08. 400ppm – Cladogenesis
09. Jonathan Fitoussi – Music For Synthi
10. Ø [Phase] – Boundary Interactions
11. Museum – CCC
12. Manent – Assioma 1
13. Korridor – Futurist
14. Alpha Tracks – Sage-Green
15. Thomas P. Heckmann – Zeitmaschine
16. Viers – Oyasumi
17. Blue Hour – Common Ground
18. Mark – … Careful Development Without Haste
19. Kellen303 – Planet X (Interstellar)
20. Chevel – Arp 2600
21. The Empire Line – Ø (for Vainio)
22. Cosmin Nicolae – Semnal
23. Komarken Electronics – Spaciousness (The Exaltics Remix)
24. Alva Noto – Uni Sub
25. Feathered Bug – Zanshin


Mike Davis


[Music & Interview]: Schlammpeitziger


Music & Interview


Schlammpeitziger is the moniker of the German electronic artist Jo Zimmermann who lives in Cologne. His early reputation was built on his inventive use of cheap Casio synthesizers. The name is inspired by the amphibious fish Schlammpeitzger.



Hi, Jo.

Thanks for this interview and nice mix of own productions. I discovered your music via a mix of Electronica tracks by Martin Gore (Depeche Mode) in 2001. The mix contained a lot of stuff I started to follow then but your track was one that got my bigger attention. So let‘s start with the first questions. What music did you listen to in your youth? When did you start with producing? Who inspired you? Did you have any other music projects you started before Schlammpeitziger?

Hi Jürgen. You’re welcome!

In the 70ties I was a big KISS fan (I´m born 1964). And in the early 80ties i changed to Wave,Disco and Electronic. Very important for me in this time were Bands like Residents, Telex, Bene Gesserit, Chris&Cosey, Der Plan, Andreas Dorau etc..

In 1986 I bought my Casio CZ 230 S. But really making tracks was around 1989. There was one projekt before Schlammpeitziger it was called Hal´s Dream. It was with a drummer, a guy with sampler and synth and me. We had 2-3 concerts here in Cologne and we split in ’91. They wanted me to learn notes.

And this was not my idea of making music. So Schlammpeitziger was born.

Schlammpeitziger 1
(Schlammpeitziger playing at a live gig)
Your releases were on small labels like Entenpfuhl, A-Musik, Pingipung, Sonig. How did you get in touch with these labels? Did you produce stuff after signing a deal or did you select the finished tracks for them from your drive? How did you select them? Why did you choose cassette and vinyl only for your first 2 releases?
I met Frank Dommert / Entenphuhl / Sonig in a pub. I was DJ there,and he liked the music I was playing.

He and some friends of him had a band that was called Kontakta. There was Georg Odijk (Founder of A-Music), Markus Schmickler (a musician), Carsten Schulz (musician), Monika Westphal (musician) and Hans Jürgen Schunk (musician) and Frank Dommert. They worked with Contact Micro Prepared Instruments like tables, windows etc.

And we all became friends. After listening to my tracks Frank made my first Release Erdrauchharnschleck on tape in 1993. There was no offical deal, no contract. Me and Frank selected the tracks from the tape. It was an easy yes or no system. Cassette was a easy option to bring out music. So we took this.

The second release Burgfensterrytmuskuckloch was a split LP with Masters Cosmic Music. And they had money for Vinyl. So they made it. And I was very lucky about it! My first vinyl. It was on the label Gefriem run by Jan Werner (Mouse on Mars), F.X.Randomiz and Joseph Suchy (another musician).


Schlammpeitziger 2
(Schlammpeitziger Promo Pic 1 2018)

Talking about your tracks…. How do you start a production of a new song? Where do you find the inspiration for them? Many tracks sound quite funny to me – with a funny melody or feeling.
I just start with a bassline or a melodyloop or a beat. And then collecting more and more loops, sounds and melodys. This gives me the inspiration in which direction it should go.

After this I start with the arrangement. And normally a track is finished after 2-4 weeks.

For me the tracks are not funny,i would say in a good or simple mood. But there is also a lot of melancholy in it. My tracks mostly did not get in people by hearing it just 1 time. If you want to find more listen again. I don´t pack them in a aggressive costume so people maybe find it funny. And it´s a lot of work! And that´s not funny.


(Video “Zwischenzischbericht”, 2000)
Your tracks & records have also funny names. How do you create them? Have they any deeper meaning at least for you? Do you have them all in mind – so you know what track it is when someone name it?
The titles, yes. Some are word constructions and some are direct in my mind.

The new record “Damenbartblick auf Pregnant Hill” is this view on that hill. This music was played while they looked at this hill. In my mind for sure!

Often I listen to finished tracks again and again and then I find things inside that bring me to the title/meaning of the track.

I think a can remember a lot of tracks but not all. That’s the problem when you have to much children!

Schlammpeitziger 3
(Live picture of Schlammpeitziger)
Like mentioned above I discovered your music via a Martin Gore mix that was broadcast on Viva (a German music television at that time) which was also used for the Exciter tour. Did you know about the mix before it was on TV or played at the concerts? What do you think about the mix? Did it create some extra attention for your releases so the sales grew?

I know there was a mix, but i can´t remember what was inside. That´s nearly 17 years ago. And my brain has not get better.

No I didn´t know something about it before Daniel Miller send it to me. No there was no extra attention or sales grew. Only god knows why.

The mix made by Martin was not the only connection to Depeche Mode. You also made a remix for their single “Freelove” in 2001. How did you get this job? Many electronic artists are fans of DM, inspired by them or at least respect the output. What about you, are you a fan? What‘s your DM favourite production and why?
Daniel Miller just asked me. And so I did it. And it was paided very good.

And “Freelove” is a nice song.

Do you know Boyd Rice and Daniel Miller – “Cleaness and Order”? This track was a fantastic reason to do it! This track was very important to me! So it also was a thank you Daniel Miller for this song. No I’m not a DM fan. But they have my respect. They are still there!


(DM remix and the track “Mango Und Papaja Auf Tobago” used in our special “Depeche Mode & Their Remixers (Part I)”)
Back to your own stuff: you have a strong relationship to A-Musik, a record store in Cologne, a concert venue, a mailorder, a label. Could you please tell us something about this relationship? When and how it started etc…
Look Question 2 and: We are still friends. Sometimes I’m in the A-Musik shop or we meet at friends or concerts. It’s family.
Schlammpeitziger 4
(Schlammpeitziger Promo Pic 3 2018)
For me your sound is part of what I have in mind about electronic music from Cologne. What do you think? What defines the Sound Of Cologne? What differences are there compared to the music scene in Berlin etc.
I have no idea. I really don’t think about this. It is what it is!
For your live shows you work with an visual artist Ulrike Göken. Please tell us something about this. How do you develop the ideas,how do you make the films? Any plans to upload the stuff to youtube or other platforms?
Me and Ulrike are doing the videos since 2003. Right now we are developing ideas and cut videos for the new record. Means: 8 tracks – 8 videos. Later on we put some on youtube.

So over the years and between the records we collecting material we filmed. We film everything that is interesting for us – normal weired stuff. Or we ask other people if they want to make something.

Like for the track Damenbartblick, KotaUska from Ukraine gave us their great photos and we made a video out of it. We were friends on Facebook and we liked their photos so much so we asked and they said yes.

Great collaboration.


(Video “Damenbartblick”, 2017)
Wow already the last part of our small interview. You are just about to release your new album “Damenbartblick auf Pregnant Hill” on Bureau B, a label that released stuff by Andreas Dorau, DAF, Kreidler, Krautrock veterans etc. How did you produce this album? Why will it be on Bureau and not some of the labels you worked with in the past? And special story you connect with the album already? And what‘s coming next?
Was not so small at all. Like always at my “Auf dem Brett Studio” I work with computer, ipad and a Alesis Synth.

At the beginning it was very diffcult for me to make a next record after “What´s Fruit?”. This record was standing in front of me like a wall. And i had no idea what’s behind it!

So there was some month in a very bad mood, frustration and personal bad things.

I can hear this in tracks like “What i got”, “Angerrestbay” or “Smooth Motion Kaukraut”. These are very dark or sad tracks for me. But better times came back! So “Ekirlu Kongo” or “Bock Bounceburg” are good examples for this change. And finally I mixed the record with my old friend Mucki.

He has a great studio in Bergisch-Gladbach near Cologne – Mohr Music. That was also very important for my music! He understands my music very good.

Then the record was ready but my label before Pingipung didn’t like it. So i was there without a label after 24 years. That was very frustating. But Jan Werner (Mouse On Mars) had the idea to ask Bureau b. So I have sent the tracks and they liked it.

And suddenly I had a new and very good label! Very nice people are working there! The collaboration is very good!

And I’m on a label with my heroes like “Der Plan” or “Andreas Dorau”. Great!

Special album story: look above.

I hope a lot of concerts will follow now! And there will be 2 unreleased tracks on a split maxi next year.

Jo, Thanks for this nice interview & the beautiful mix 🙂

album “Damenbartblick Auf Pregnant Hill” on Bureau B
album “What’s Fruit?” on Pingipung Records
album “Vorausschauende Bebauung” on Sonig


Exclusive Mix:


Tracklist of Exclusive Mix:
01. Schlammpeitziger – Keine Sitar
02. Schlammpeitziger – Mango und Papaja auf Tobago
03. Schlammpeitziger – Honkytonk Schlickummpittz
04. Schlammpeitziger – Verhörspielquäkerseat
05. Schlammpeitziger – Prä-Digitaler Volksstuhlhänger
06. Schlammpeitziger – Frag nicht nach Nord-Süd-Fahrt
07. Schlammpeitziger – Bassbestie´s Blässe
08. Schlammpeitziger – Verkleinerte Vergrößerung
09. Schlammpeitziger – Hagelslaag Süchteln
10. Schlammpeitziger – Schneid ein Stück aus der Zeit
11. Schlammpeitziger – Damenbartblick
12. Schlammpeitziger – What I Got




[Music & Interview]: Mark Reeder


Music & Interview

Mark Reeder



Mark Reeder: representative of Joy Division’s label Factory in the 70ies; manager, producer through the decades; founder of MFS Records in the 90s … We already interviewed him years ago. Read here.


Hi, Mark.

Nice to have you for another interview on NovaFuture Blog.

Actually this interview was planned a long time ago … with a different topic, the release of Die Vision’s Album “torture”. Unfortunately this project was stopped and the planned album is still unreleased. In the meantime you have made some very cool remixes for New Order and released the nice electronic pop album “Mauerstadt”. So we updated our questions a little bit but kept some of them. Let’s talk about the movie “B-Movie”, your album “Mauerstadt” and check out how it was working on the Die Vision album during the fall of the iron curtain.

In last interview you said that you became the representative of Factory Records, the label that signed Joy Division, in Germany because you already lived in Berlin. This story and many other funny anecdotes are portraited in “B-Movie”. The movie became very successful – a lot of international screenings etc. It also has a very good soundtrack incl Westbam feat “You Need The Drugs” and your track “Mauerstadt”. How much of the stuff of “B-Movie” is true and how much … the phantasy of the film maker? What was your part during the movie production? Was you involved in the track selection for the soundtrack album? What is the idea behind the track “Mauerstadt”?

Actually, it is all true. It’s just that we had to find parts of my story to which we had film footage for. The film is only about my time spent in West-Berlin, because West-Berlin is forgotten. Virtually everything I experienced in East Berlin had to be left out, all except the Toten Hosen gigs. Mainly, this was because we had no film footage from my escapades in the East. Some parts were changed slightly, or adapted to fit the flow of the narrative, as we had to compress 10 years into 90 minutes, so we couldn’t go into deeper detail, such as Nick Caves initial reaction to my flat, which was a 22 sq meter hinterhaus hovel in Kreuzberg, with a coal oven heater, no hot water, no shower and an outside toilet. Nick said it was like living in the Victorian age.

One huge part of my life which also had to be omitted, was going every weekend to the Metropol Theatre on Nollendorfplatz, in the 80s it was Europe’s biggest gay disco. The Berlin birthplace of HiNrg. No one filmed there, ever, so we couldn’t include it in my story, as we had no footage and so we had to make do with Westbam to represent the flourishing dance scene (who was also one of the Metropol DJs).

The selection and running order of the B-Movie soundtrack album was made by Edel and Klaus Maeck. I had absolutely nothing to do with that, I was only asked at the last minute to make a mix of all the tracks which didn’t fit onto CD1. I really wanted to have one of the Neubauten reworks I made on the album, but they wouldn’t license them to us. I also wanted Edel to make it possible for the viewer of the film to be able to access the featured songs in their entirety on the blu ray DVD through seamless branching, this would have enabled the viewer to hear the entire restored soundtrack and also everything in 5.1 surround. After all, I mixed everything (incl Joy Division, Neubauten, Sex Pistols and Malaria!) all in 5.1 surround for the film. It was a missed opportunity.

The idea behind my track Mauerstadt was to make it sound like an 80s track.

I wanted to give the track a simple, dystopian, DAFish kind of feeling by using just a analogue modular synth appregiator, a growling bass guitar and hard, straight, driving drums and a monotone vocal. I added the happy birthday sample from Knut Hoffmeisters super8 film about the Berlin Wall’s 25th birthday party, where everyone is so obviously totally out of it and because it sounds so funny. The long version was released only on the B-Movie vinyl and so I’ve put that version on the CD and the short version, which was on the CD is now on the Mauerstadt vinyl. Some people have actually told me how they remember that track from the 80s.

Mark Reeder 1
(Mark Reeder in the 80ies)

As shown in the movie you was not only a manager, producer, label head for several acts in West Berlin but also was member of the band “Shark Vegas” that was produced by New Order. Which instrument did you play? What was your role within the band? Why was it produced by NO?
In Shark Vegas I attempted to play guitar, keyboards and operate our Revox B77 which played the drum machines and sequencers. We decided to use a 4 track reel-to-reel tape, because after our illegal gig in Hungary, someone had stolen our drum machine. Our first and only Shark Vegas 12” single You Hurt Me was produced during our New Order European tour by Bernard Sumner. We had a few days off, so we went to Conny Planks legendary studio to record it. That ended up being a total disaster. Conny Plank popped in to the studio once and asked “ok lads?” then he just played table tennis outside with his kids mates, or made lunch. The sound engineer was suffering from a slipped disc and had to shout his instructions between spasms of pain from a small camp bed, which was lying below and in front of the mixing desk. The result was dreadful.

In the end, we went back to Manchester’s Strawberry Studios to finish it! New Order really liked YHM and consequently stole most of our ideas and regenerated them for Low Life. Two different 12” singles were released, one on Totenkopf (the Toten Hosen label) and the other on Factory Records, whch also had the sub-title “… but now your flesh lies rotting in hell”.


Mark Reeder 6
(Mark with Shark Vegas playing live)

New Order just released some nice remixes made by you (there were part of the singles accompanying the New Order albums “Music Complete” and “Complete Music” on Mute). Who came up with the idea to let you remix NO? What is your relationship to New Order nowadays?
My relationship with New Order is as it always was, they are my friends. I wanted to remix Academic for inclusion on my Mauerstadt album, but the band wanted me to remix Singularity and use footage from B-Movie for their live video. I also wanted to make a version of The Game for Mauerstadt too, as I had an idea for it. The version on their album is quite banging and I thought the beautiful lyric doesn’t really get a chance to emerge. Also on Music Complete, there are no slow or quiet songs, so my idea was to strip down The Game, half speed it and feature Bernards vocals. I added a straight throbbing bass guitar and loads of synth strings. This version was performed as a hybrid, during their Sydney Opera House gigs, where they performed with an Orchestra.
Mark Reeder 2
(Mark & New Order’s Bernard Sumner)
We already mentioned it in the introduction: the interview was originally planned for the re-release of Die Vision’s album “Torture”. It is not released yet. What happened? Who is behind the project DV and who was involved in the production of this album? What’s the meaning of the name?
The band and their management basically couldn’t agree and so the project has been shelved until they can. My idea was to release a remastered double album of Torture for its 25th anniversary. As I found my original Amiga tonstudio demo mix tapes from 1989 that I had made before the final mixdown, which took place after the fall of the Berlin wall in early 1990. The band name Die Vision (The Vision) is basically a reference to their favourite band and also a play on words.

I gave the album it’s title because it was torture for us all to make. Not just because of the power surges and restrictions, but because of the political situation. East Germany was literally falling apart as we were making this album. I also designed the album cover too. It featured a painting by Berlin-American artist Cynthia, depicting two black slaves who had each had both their hands cut off, because they didn’t meet their quota of sugar beet. I thought, the Easties all think they had it bad living in communist East Germany, but things could always have been much, much worse. I also wanted to cause a bit of controversy too, by having two black people on the cover and not the band. Who knows, maybe we will manage to make it for the albums 30th anniversary?

Mark Reeder 7
(Die Vision)

The album of DV was the last one that was produced for the GDR label AMIGA. You were in charge of the production. How did you get this job? How did AMIGA work as a record company (production, promotion)? Was it different to the work of labels you worked with or run yourself later?

I was invited by the Amiga to produce the Die Vison album in the latter part of 1989. The band were the only group in the communist GDR (German Democratic Republic) who were officially allowed to perform their songs in English. This was because their singer Uwe Geyer studied English at the Humboldt University. Now to study English there, you had to be perfect at speaking Russian too, remember, as English was the language of the enemy. Initially I was told, the band asked for me to be their producer, no doubt I thought due to my association with Joy Division (probably they thought something might rub off?). In reality, the STASI just wanted to watch over me, very closely. The Amiga had already vetted the bands lyrics and approved them for general GDR consumption, but when it actually came to singing them, they were actually quite un-singable. So I asked my writer friend Dave Rimmer (Once Upon a Time in the East) to help rewrite the lyrics and we gleefully added cryptic and subliminal messages within the texts. The A&R had no idea we had done this and accepted everything as it was, because it had all been previously approved. The Brunnenstrasse Amiga Tonstudio studio was a self-created Frankensteins monster. It was fascinating. Almost everything had been made by the engineers themselves, all except their Neumann microphones, a Fender Strat from 1968, a Steinway Grand piano and a Melotron. The Amiga label was run like a civil service. Thousands of people seemed to work there doing unfathomable tasks. Elderly women reading over the LP cover texts, sat in offices adorned with net curtains, potted plants, pictures of cats and ersatz café. It reminded me more of the tax office than a record label. The words fashionable or trendy didn’t belong within their corridors.

Yet in the studio, the basic production was the same as anywhere else really. Except that we had to deal with regular power fluctuations, which would always result in all the tracks on their self-made 24 track tape machine being erased. It was quite a nightmare. I would be biting my nails every time the lights flickered.

As for promotion, there was no such thing in the GDR. They didn’t really have product advertising and certainly not for records. The Amiga had control of all the record shops throughout the GDR and they all took what they were given.

The album did have huge pre-orders though. After finishing each song, I would make a mixdown for myself on tape, just so I could keep track. The Amiga A&R took a few of these early demo mixes and went around East Germany proudly presenting them to all the record stores, as it was the first East German album ever to be sung entirely in English. Before I was anywhere near finished, we already had 32.000 pre orders for Torture!

Naturally, the Amiga was run nothing like an indie label. They didn’t have to be anything, the Amiga were the only players in East Germany with no competition. After the fall of the Berlin Wall, they changed their name from Amiga to Zong in a pathetic attempt to distance themselves from their communist past. I thought that was a wrong move and proposed they change their name to ZONY, but they didn’t see the irony in my joke and they certainly didn’t understand the power of marketing at that point. Finally, I ended up starting my own label using their facilities – I called it Masterminded For Success. Knowing that the Germans loved to abbreviate everything, I wanted to keep the three letters associated with the official name of the STASI, the Ministry for State-security, or MFS.

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(Mark in 1984 with some equipment)
As we can imagine the equipment in the studios of AMIGA was very different to the machines you knew working with western artists. Which equipment did you use for the album? Was it difficult for you to get into it, to understand how it works? Could you please tell us something about the equipment you used in the 80ies, GDR and nowadays?
As everything in the Brunnenstrasse studio had been made by hand, nothing was like the machines that you saw in a Western Studio. The only recognisable machine was an Otari 24 track, but even that was a deception, as it was only the Otari housing, The interior was a mix of Studer and Telefunken tape machines cobbled together. Their equipment had more or less the same functions, but it all looked self-made. It was quite fascinating. I remember their newly built remote controller that they used to stop and start the recordings on their 24 track machine. It was gaffa taped to an old snare stand and it had a horrific 5 millisecond delay from the moment you pressed the clunky buttons. The studio had a forest of East German Neumann microphones and a few Western amps, like a VOX AC30 or Marshall. All this western stuff had been bought in the late 1960s as part of some five year music production plan. Everything was kept in excellent condition though. They had a room which contained a series of metal coils and spring-like spirals and hanging sheets of metal. These were the reverb plates which could be operated directly from the mixing desk at the click of a gas-cooker style switch. As the drummer of Die Vision quit the band on the second day of recording, I was forced to smuggle a drum machine into the East, as there was only one drum machine in the GDR (a Sequencial Circuits) and that was on permanent loan to the Friedrichstadt Palast Orchestra. Otherwise we had to make do with what was available.
You just released the album “Mauerstadt”. It has the same name like your track on “B-Movie” soundtrack. Is there any connection between these two “things”/releases? “Mauerstadt” is full of collaborations. So you worked with The KVB, Queen of Hearts, Ekkoes, MFU or Maja Pierro on tracks for it. How did you select the collaborators? Or how did these collabs happen? Please tell us also something about the way you work with these artists on tracks we can now hear on the album.
Yes of course the title track is the same (although a different mix) I wanted to feature it more.

As for collaborating, I like to work this way. Share my ideas and thoughts. For example, I had made a remix for Queen of Hearts and then I asked her if she’d like to work on a track together. I ended up writing a couple of songs with her for her album, or I remixed The KVB’s White Walls track and then we wrote In sight together. As for New Order, that came about because I had an idea and wanted to see where it would go. Thankfully, I don’t have to fly over to the UK to record anymore, the modern age allows us to bounce sessions and mixes via the internet. If something needs to be discussed that’s easier too, but mostly the artists just let me get on with it.

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(Mark playing guitar, photo by Micha Adam)
As said, you are from Manchester. Have you still a relationship to the city, music scene there? Any friends from the old days?
Naturally of course, I have family and friends there. I only left Manchester and came to live in Berlin. It’s not that far away, Berlin and Manchester have a strange similarity. I can’t say exactly what it is. Maybe it’s the desperation and thirst for expression and creativity. I’ve performed there a few times recently too. Once for the Manchester International Festival True Faith Exhibition opening in Manchester Art Gallery (I had everyone dancing there in the Art Gallery for the first time, ever). That was great fun and I also performed together with MFU at the iconic Tiger Lounge, (George Best’s old club). That was a wonderful gig. I like Manchester now more than I did when I left, it has become a very cosmopolitan city and I am very proud of it for being able to transform itself like that, but I could never live there again, Berlin is my home.
You are a music nerd. And we love it. Please name 10 favourite records that had/have big influence on your life as person and as artist. Tell us why they had such an impact and what they changed in you.
Errr, thank you Juergen 🙂 Well, that is always such a difficult question to answer. So many different things have influenced me over the decades. It’s not so easy just to pinpoint them to only ten, as it leaves out so many other great things. I will try, but please don’t judge me on this. It’s just what I can think of now…

01. Telstar by the Tornados
This was the first record I ever bought. It was 1962. They only played it once on the radio each day and I wanted to hear it again and again and again. I pestered my mother so much she dragged me down to our local record shop (Rumbelows in Denton) and made me buy it. I guess that moment started my record buying addiction. After that, we bought all kinds of records mainly 7” pop singles, by The Beatles, Shadows or Cilla Black and that tradition of buying singles followed me into the 70s with punk. In my opinion, Telstar is the first techno record. It’s dancy, melodic and instrumental.

02. Dr Who Theme by Delia Derbyshire & the BBC radiophonic workshop
This was the first electronic music I ever heard. A brilliant theme. Still mysterious and captivating to this day. As a child, I had no idea how it had been made, but it sounded so futuristic.

03. Electric Ladyland by Jimi Hendrix
The first album I ever bought with my own money. I knew Jimi Hendrix from the telly, he was the flamboyant black guy who played the guitar with his teeth. I heard this album regularly during weekly visits to Manchester’s record shops with my elder cousin and I think I only wanted to listen to it because of the naked girls cover. Each time I heard it though, it sounded different, I wasn’t aware it was a double album. I was determined to own this album for myself. So I plotted a plan to buy it. To accumulate the money, I’d do odd jobs like getting bread, groceries or 20 Park Drive cigarettes for the old age pensioners who lived across the road and they always told me to keep the change. One Saturday, I secretly went into Manchester on my own, I remember it was a very cold day. I was a bit scared going into Rare Records on my own. I bought the album (which was very expensive for a ten year old boy) and I smuggled it home. Petrified it would be discovered, I hid the record sleeve in a box under my bed and never told anyone about it until I was about 16, as I knew if my mum saw it, she’d have certainly thrown it out.

04. Switched on Bach by Walter Carlos
This was the first record I ever heard on a Stereo. My cousin wanted to buy a second hand stereo and so one afternoon we went to some blokes house. There was this huge Stereogramme monster, like a sideboard, lumped in the middle of the room. To demonstrate the wonders of his stereo, he put on Switched on Bach. I’d never heard anything like it. I was fascinated. What was that sound? It was like Dr Who. My cousin didn’t buy the stereo, but once he got one, I would be glued to the thing listening to stereo records by King Crimson, Pink Floyd and The Crazy World of Arthur Brown.

05. Fireball XL5, Stingray, Capt Scarlet, UFO & Thunderbirds scores by Barry Gray
This was the music that got me into soundtracks. Barry Grays scores were always very dramatic and memorable. He mixed electronics and orchestra to create other-worldly soundscapes for Gerry Anderson’s futuristic sci-fi puppet series. It took over 45 years for the music for these TV series to be released.

06. Roxy Music by Roxy Music
Virgina Plain was the record that kicked off the glitter era for me. They sounded so different from all the other bands of the time and used a fusion of synths and rock. This album looked and sounded like no other. It was also around this time that I also discovered the sounds of German Electronic music too, like Cosmic Jokers, Neu and Kraftwerk which set me on a path to discover more music from Germany…

07.Low & Heroes by David Bowie
Although I loved the Ziggy Stardust and Hunky Dory albums, these two albums recorded in Hansa studios, changed the sound and image of David Bowie and I have to say, they probably influenced my decision to visit Berlin. Low was this dystopian, dark and very Krautrock sounding album, which Bowie followed up rapidly with Heroes. Heroes was a little more accessible, but it still sounded amazing. I got the German edition of the album where Bowie sings Heroes in Germanese.

08. An ideal for living/Unknown Pleasures & Closer by Joy division
More than any other, this was the band and album that changed everything in my life. After moving to Berlin, I became Joy Divisions representative in Germany. Then when Tony Wilson formed Factory Records, I automatically became the representative for his label too. The first Joy Division single actually sounded pretty dumpf and so Rob decided to repress it as a fashionable 12”, it still sounded dumpf, but now it was louder. It was only when they went into the studio with Martin Hannet did everything change for the band. They stopped being a ropey punk band and became something entirely different. Their debut album sounded like no other and with Peter Saville’s simple pusle-wave design it looked like no other too. In every aspect, it was light years ahead. Mixing synths and guitars and sound effects, all held together by Ians heart-wrenching poetry. Martin had gained his experience mixing iconic records by Manchester’s punk bands like The BuZzcocks, but realised he could do so much more with Joy Divisions music. I thought everyone must now realise that this is the best band in the world, but in reality, no one was interested. I managed to convince Rob to bring the band to Berlin, as I thought if they saw them, the Berliners would love them. Sadly, only a handful of people came to see Joy Division perform at Berlin’s Kant Kino. I was devastated, but the band didn’t care. This was normality for them, and they were just happy to be in Berlin, to finger the bullet holes and eat schweinshaxe. Of course, my friendship with the band continued after Ian’s death and still continues to this day.

09. Violator by Depeche Mode
Although I have followed this band from their inception, this album was like a revelation. I already knew Francois Kevorkian’s previous work, as I was heavily into underground dance music during the 80s and Francois Kevorkian was my favourite remixer. I tried to buy everything he made, yes, even his remix for Diana Ross! His legendary mixes for the Prelude label (such as Sharon Redd’s Beat the Street) and Kraftwerk set him above everyone else and he has without doubt been a huge influence on my own work. When he teamed up with flood and Depeche it was almost like a dream come true. And he didn’t disappoint. Violator is his masterpiece.

10. Perfect Day by The Visions of Shiva
This record was the first international success for my label MFS. Admittedly, my initial idea was to start a label as a musical platform for Eastie Techno kids, but as they all had no money, no equipment and no experience, I had to fall back on musicians from West Berlin. I had a rough idea about how I would like the music to sound on MFS, and so when I heard Cosmic Baby was looking for a new label, I met him and proposed my concept: To make a more hypnotic, melodic and emotional sounding style of Techno. I liked his interpretation and we released his first single Cosmic Trigger under the moniker MFS Trance Dance. The DJ’s loved it, but said they couldn’t play it because apparently, it wasn’t DJ friendly. I suggested to Cosmic that he look for a DJ to work with and eventually at one of his gigs, he met a young warm-up DJ called Paul van Dyk. Paul appeared to be a nice lad and so I put them in the studio together. The result was Perfect Day. This record went through the roof! Their second release How much can you take? was even more successful, but then came the clash of egos. Paul had his own success with his remix of Humate’s Love Stimulation and Cosmic wasn’t having any of it. They soon split up and eventually, after sequencing our first MFS compilation Tranceformed from Beyond together with Mijk van Dijk and his own hugely successful album Stellar Supreme, Cosmic left MFS for the allure of stardom as promised by BMG.

Mark Reeder 5
(Mark, photo by Katja Ruge)
“b-movie” including a screening tour are finished, “Mauerstadt” album released… What is coming next? Live touring? On what are you working?
Well, the tour with B-Movie is certainly not over. It’s still ongoing. There are many places that have not yet seen it. I’ve actually just returned from a two month tour of China, where I DJ’d, showed B-Movie and gave lectures about electronic music and Berlin in the 80s and I also produced two interesting Chinese bands there, Stolen (from Chengdu) https://www.youtube.com/watch?v=RVmUZZ_2pgc and Hang on the Box (from Beijing).

Apart from preparing everything for the release of my Mauerstadt album (which is available on CD, DWLD and a limited edition double white vinyl),

I’ve already started work on my next album too. I have just finished a song with an old DJ friend from Ireland John Gibbons, and a new song with MFU, and I recently remixed Vicious Games for Yello.

These tracks will be included on my next album, which will be released early next year.

Thanks for this interesting interview
You are very welcome, Juergen.

Mark Reeder album “Mauerstadt”
compilation “Collaborator”
compilation “Five Point One”
New Order’s single “Singularity” w/ Reeder remix


Exclusive Mix:


Tracklist of Exclusive Mix:
01. Delia Derbyshire & the BBC Radiophonic Workhop – Dr Who (original 1963 theme)
02. The Tornados – Telstar
03. The Cure – Purple Haze
04. Say Lou Lou – Maybe You
05. The KVB – Fixation
06. Visions Of Excess – Object To Be Destroyed
07. John Foxx & Steve d’Agostino – Impenetrable
08. Blank & Jones feat. Elles de Graaf – Mind of The Wonderful (Mark Reeder’s Mastermind Mix)
09. Margret Berger – I Feed You My Love
10. Stolen – Copy Shop
11. Blank & Jones feat. Bobo – Loneliness (Mark Reeder’s Alone In The Dark Mix)
12. Blank & Jones feat. Steve Kilbey – Revealed (Mark Reeder’s Overexposed Mix)
13. Hang On The Box – Hunting
14. Blank & Jones feat. Bernard Sumner – Miracle Cure (Heilmittel mix)
15. The KVB – White Walls (Mark Reeder’s Stoned Wall Remix)
16. Mark Reeder- mauerstadt (RIAS Mix)
17. Blank & Jones feat. Vanessa Daou – Consequences (Mark Reeder’s Resultant Mix)
18. New Order – The Game (Mark Reeder spielt mit-edited Version)


Mauerstadt Website
Mark Reeder