Blasha & Allatt, the incendiary duo behind Manchester’s infamous MeatFree series, are regular guests at Blitz with their signature strain of bold, groove-driven Techno. This BlitzLive recording captures their electrifying set from early March – the pair stepped in to cover an additional hour after our residents Glaskin had to cancel their live set due to illness. The result? A extended, three-hour powerhouse session, ready for you to relive in full.
The Blitz Live recording stems from early March. What do you recall about DJing that night?
We were actually asked to step in and play an extra hour after Glaskin had to cancel due to illness. It’s always a pleasure to play longer in that booth and genuinely one of the spots where we feel most at home. The vibes were spot on as always, with smiling faces on the dance floor – we both got into that flow state almost instantly!
How do you feel about the mix in retrospect? Did anything surprise you, or unfold differently than expected? There were a few surprises in there, actually! Sometimes we listen back to a mix and we’re both trying to decipher who played a certain track or what’s layered on top of what – that’s the fun part. Regardless, we are happy with the outcome. We are really picky when it comes to sharing live mixes, as this is a very raw and honest representation of you and what you stand for musically. For the last couple of years, we’ve gravitated more towards sharing live recordings, as these represent us better than any pre-planned mix ever could.
You’ve been playing regularly at Blitz since September 2022. What are some of your standout memories? Any particularly funny or curious stories you’d like to share? YES! There’s a couple. The very first time we played Blitz, we were just about to take over from the DJ before us, when this very sassy Queen from the crowd with the biggest fan leaned in and shouted, > DO YOU THINK YOU HAVE WHAT IT TAKES TO DO THIS SHIT?! < Hahah! Slightly daunting, but about an hour into our set they came back to the booth to give a nod of approval.
Also, we can’t forget a little crew of Blitz regulars who baked us both some Blitz-themed biscuits with an iced logo and the sweetest little card. What a bunch!
Do you remember your very first gig at Blitz? How did it go? Our first night at Blitz was September 2022. We got invited by SHDW to play an Another Mind showcase. As per the previous question, it went really well. It was love at first sight! Any club with turntables sunken into the booth gets a 10/10.
How has your approach to DJing at Blitz evolved over time? Our evolution is more centred around how comfortable we feel playing the club. We’ve played 11 times as of March 2025, so naturally we have a homely connection with Blitz, the clubbers, and how we communicate during a set.
What’s your favourite thing to do in Munich – aside from playing at Blitz? We managed to catch an afternoon watching surfers at the Eisbachwelle! However, other than that, not much else 😜
With two of you behind the decks – how do you divide the work as Blasha & Allatt? Who takes care of what, and how do you complement one another? The work is split 50/50 – we’ve always mixed one track-for-one track, as it applies a certain pressure that we both respond well to. We don’t plan anything other than maybe the first track, and then we just roll with it. However, we do make sure to align on the sub-genres of techno when prepping at home. In terms of how it plays out behind the booth, most of the time we use an Allen & Heath Xone 96, which allows us to listen independently from each other; when one of us is mixing, the other is cueing the upcoming track. In the last few years, we’ve really enjoyed the creative freedom of mixing 3–4 decks using a mixture of vinyl and digital – this has kept it interesting for us. That being said, there are only a select few clubs where we feel fully comfortable doing this, Blitz being one of them.
What’s in store for Blasha & Allatt in the near future? Any special projects on the horizon you can hint at? In keeping with the Blitz theme, we are doing our first Meat Free takeover of the club in summer – a very special moment for us!
And now for our classic closing question: what piece of music is currently on repeat – beyond the Blasha & Allatt universe and network?
Extra Hour is an extended party format by Munich record label DifferentTimes and Munich based design-studio NaivStudios that starts off and marries afterhour bliss & dayrave delights from the early morning hours right into the afternoon. At the core: a thrilling lineup featuring discerning touring artists & guests, spirited newcomers, and talented locals across both the BLITZ and PLUS floors.
Boasting unique lighting setups and unorthodox PLUS floor curations, ExtraHour is set to be a very special experience at Blitz! We’re happy to have the series at Blitz after a number of parties at various different locations in Munich. There’s a lot planned for Saturday the 5th of April and we took the chance to catch up with the ExtraHour team to find out how the event series developed and what they plan to do at Blitz.
Find out more about ExtraHour and it’s lineup here – and don’t forget to save a ticket in advance.
What does Extra Hour stand for? When is “the” Extra Hour?
The story behind the name is actually quite fun: when DifferentTimes and NaivStudios decided to team up for the first time, we wanted to launch with something special. Our first event was scheduled for the night of the daylight saving time change—giving us an actual extra hour to extend the experience. That hour became symbolic for us. ExtraHour is not just about a longer party but about shifting the concept of time itself, creating an experience that transcends a regular club night. At Blitz, this becomes even more tangible, as we push the event further into the morning—allowing people who prefer to party in the early hours to join in. Our goal is to create a club experience that stretches the usual boundaries and plays with the perception of time.
How did the first collaboration and the formation of the Extra Hour team come about?
See the first answer! ExtraHour was born from the realization that we shared a vision—one that extended beyond just another club night. We wanted to create something immersive, something that allows people to experience time differently. Our first party, happening on the night of the time change, set the perfect foundation for what we wanted to build. After many collaborations, it felt natural to take the next step. ExtraHour represents the fusion of DifferentTimes and NaivStudios—a symbiosis of music curation and set as well as stage design. The idea of blending these elements carefully is at the heart of what we do.
Why is Extra Hour such a long event?
We’re not in our early 20s anymore, and we’ve noticed how much people appreciate events that aren’t strictly limited to nighttime. There’s a lot of enthusiasm for parties that also happen during the day or in the morning, offering a different kind of energy. The idea of a regular 11 PM to 5 AM event stressed us out. The closing is so close! No time to tell a story. It lacks the feeling of getting lost. Things develop more naturally in an over 10-hour event—no hurries, and interactions are more organic. At the same time, we sometimes miss the possibility of longer events in Munich—ones that stretch beyond the usual club night. We take inspiration from Sundays at Berghain, where the mix of people who have been partying all night and those arriving fresh creates a unique atmosphere. That kind of energy, where different crowds merge and the vibe transforms, is something we want to bring into our own concept. We’ve also planned some special features to enhance this experience.
Extra Hour brings together night owls and those with a 9-to-5 schedule. How do you accommodate these different social contrasts in your programming and design?
That’s exactly what we aimed to address. We wanted to create an experience that isn’t dependent on whether someone works a 9-to-5 or has a more flexible schedule—everyone is welcome, and everyone has the opportunity to join in at a time that suits them. To make this possible, we carefully design our lineup to create a natural flow—so that whenever someone arrives, they can be drawn into the experience seamlessly. The dynamics of the party are key to keeping people engaged. However, we fully recommend coming early and appreciating the full experience. Beyond the music, we also focus on creating a space where people can interact.
Light and spatial design have always been integral to club culture. You’ve hosted events in venues like Zirka, which is a much more open space compared to the thoroughly conceptualized Blitz Club. What are the challenges and potentials of open spaces versus dedicated club venues like Blitz?
For us, every venue is a new challenge, and we always develop a custom concept tailored to the space. Fortunately, NaivStudios brings a wealth of expertise in this area. It also helps that we’re deeply involved in the scene and have gathered a lot of personal experience along the way. Our focus is always on creating the best possible experience. At Zirka, we leaned into a warehouse-style aesthetic, whereas Kunstlabor had a more uplifting, colorful vibe. But our approach is always “less is more”—we aim to create strong accents without overloading the space. Another key element is not glorifying the DJ but integrating them into the party in a way that shifts the dynamic on the dancefloor. At the same time, we ensure there are areas where people can step away, have conversations, and lose track of time. Blitz, of course, is a different story—it’s an already well-established club with a strong identity. Our challenge here is to bring in a fresh perspective and introduce new energy.
What’s planned at Blitz Club—both musically and in terms of spatial design?
We have quite a few things planned! The PLUSFloor will be transformed into a listening space during the night, and the BLITZfloor will be set up with an enhanced lighting installation. In the morning, the entire atmosphere will shift into something different—warmer, with house-infused sounds to create a smooth transition into the day. Musically, we’re structuring the night to build momentum. The BLITZFloor will feature a thrilling lineup where each artist gets the chance to showcase their individual talent while still fitting into the bigger picture. We don’t want to single anyone out—it’s all about the overall journey. On the PLUSFloor, we’re creating a proper chill-out area with special seating arrangements—somewhere to take a breather and reset. And as the morning unfolds, the vibe will once again transform into something fresh.
Andy Warhol once said about Studio 54: > Time stops here, and space takes over. < How does this relate to Extra Hour?
That quote could pretty much be our slogan. We want to give people the feeling of stepping into a parallel world where different rules apply. Time doesn’t matter anymore—only the space and the moment they’re in. It’s going to be intense.
Could Extra Hour work as an open-air & festival concept, too?
Definitely! We’ve already had a few inquiries, and we can absolutely see it happening. As a standalone floor at a festival, our concept would work really well. Lighting plays a huge role in what we do, and outdoor events offer entirely new possibilities in that regard. We’re also very open to exploring unconventional locations—industrial areas, unexpected outdoor spots, you name it. If anyone has wild ideas, we’d love to hear them!
What does the future hold for Extra Hour?
We’re definitely planning to develop the concept further in Munich, but we’re also mindful of keeping it special. Our philosophy is > less is more <—we don’t want to overdo it, but rather focus on a few standout events that really make an impact. At the same time, we’re already looking at bringing ExtraHour to other cities. There’s a lot to come—stay tuned
And finally, our classic closing question: What track is currently on repeat for you? That’s always a tough one! The best way to find out? Come to the party and hear it for yourself.
Würzburg’s DennyVoltage is steadily making a name for herself—be it as the driving force behind her own PRISM parties, the booking curator of Dornheim, or through her dynamic and eclectic mixes.
She returns to Blitz on Friday, 28 March 2025, for a jig in our Blitz Ballroom alongside Innervisions head Dixon and longtime friend Julietta. Blitzcast027 offers a glimpse into her vibrant and effervescent musical style—a sassy and spirited mix brimming with percussive and tribal rhythms, spanning a broad spectrum of genres. We seized the opportunity to ask Denny a few questions about her work, hometown, musical approach, and the tracks currently on heavy rotation.
Get glimpse of DennyVoltage right here, catch her set on Friday and make sure to follow her on the web, too:
Würzburg is your hometown—how would you describe the local scene? What’s the current status quo? Did you grow up there yourself?
I actually grew up in Stuttgart and moved to Würzburg for university, drawn by its charming castles and its endless summer vibes in the vineyards. With almost a third of the population under 30, the scene is constantly evolving, fueled by a strong student presence. Unlike bigger cities, it’s less niche and more community-driven, creating an open atmosphere—perfect for me as a DJ to test new sounds and experiment freely.
You’re the booker at Dornheim, where you also run your own queer event series, Prism. What’s happening at the club right now, and what drives your work?
Yes, that’s right. Together with my colleague Manuel (aka Radiothérapie), I curate the club’s bookings. Our approach is very grassroots—we balance supporting local crews, which are essential for smaller cities, with highlight bookings to bring fresh, relevant sounds to town. It’s not always easy, especially as the scene is constantly shifting, and what works today might not work tomorrow. Sometimes big festival acts don’t resonate as strongly as expected, while other bookings unexpectedly draw huge crowds. But that’s exactly what drives us—being in the flow, adapting, and shaping a space that evolves in real time.
But, not gonna lie: in times like these, when many clubs are closing, this can be a real challenge at times. Recently, we won an award from the Kultusstaatsministerium as one of Germany’s best live venues—not just a proud moment, but the prize money will also help us push our program further.
A local newspaper headlined its first piece on Prism with: “Bans like in Berlin?” in regard to its “No Photo” policy. What are the challenges of organizing queer parties with smart bookings in a city like Würzburg, as one of Germany’s smaller major cities? How have the challenges and opportunities evolved over the years?
When I started PRISM, there were no queer rave parties in Würzburg, but the demand was huge. I hadn’t planned on promoting again, but when a friend was kicked out of a club for being topless, I thought, > That’s not happening in my city < and decided to create a space for true freedom on the dance floor and unapologetic queer expression.
I was blown away by the support—not just from the queer community but also from local authorities. Supporting drag culture is deeply important to me, so PRISM provides a stage for drag performances alongside up-and-coming queer DJs and dancers. A big challenge when creating a queer safe space in a small city is balancing exclusivity while also educating people on why queer lifestyles need extra care and love. Awareness was a huge focus for us early on, and the No-Photo policy played a big role in establishing an environment where people feel comfortable.
The bookings mean a lot to me, as I hold high standards, but for our partygoers, it’s more about the PRISM experience than specific names. Still, I’ve had the privilege of hosting legends like nd_Baumecker, Cormac, Prosumer, Bashkka, and MassimilianoPagliara, as well as dear friends like Jorkes, Posture, Nikola Marinkovic, Melatronix, Wannadosomething, and many more.
Before Prism, you launched “Avoid The Subject” as your first platform. What became of those parties?
Avoid the Subject was my first real love affair, I’d say. My friend Andy and I started booking artists we were obsessed with at the time—raw, driving techno like Delta Funktionen, Matrixxman, Somewhen, Hector Oaks, DJ Spit, DJ Gigola, Vincent Neumann, etc. We had wild visuals and aesthetics all over the place and soon built a nice community. Andy and I actually met at RobertJohnson while geeking out over Blawan, and checking his tracks.
Avoid the Subject was raw, pure techno—underground in the truest sense. Before we started booking at MS Zufriedenheit, there wasn’t much proper techno in Würzburg, so it felt subversive and revolutionary, like carving out a new space.
Funny enough, when I was a kid, my mom owned a techno club—around 1999. Back then, techno kind of scared me, but I was also fascinated by it. Avoid the Subject became the first real outlet where I truly engaged with it, and what once felt intimidating turned into something deeply personal. Techno was everything to me back then, and I’m still deeply drawn to it. Unfortunately, MSZufriedenheit closed in 2021, and things naturally moved in different directions.
Tell us a bit more about your mix. What thoughts or inspirations shaped it? Were you following a specific concept?
The mix was a real tough nut to crack! I had so many ideas about what to include, but in the end, I just thought: Alright, let’s throw in everything that defines my sound. So, it’s a blend of pumping House, Groove, Bass Club, and UKG elements, all woven together with lots of percussion and tribal influences—because, well, I’m Spanish, and that’s just in my DNA. And of course, a touch of Ghetto House and Ghetto Tech had to sneak in, because that energy always gets me.
I also tend to play tracks that surprise people, like Ramadanman’s “Glut,” which always hits differently and keeps the crowd engaged. Tracks from DJPlead, Pangaea, and April–ESS are often in my sets, too, and especially Errorsmith & Fiedel aka MMM, whose sound I love. These specific tracks just feel right every time.
And now about your style in general. Your selection is quite eclectic, spanning multiple genres. What influences your curation? Where do your musical roots lie?
I don’t like genres—just like I don’t like categories in general, whether in music or in life. The need to define everything, to put things into boxes, has never felt right to me. It’s the same with gender—I think it’s totally fine to exist somewhere in between, to dress, act, and be however you feel in the moment, just flowing in your own way.
For a long time, I struggled with self-doubt about my musical identity as a DJ. I was interested in so many different things, constantly switching styles, and I worried that meant I didn’t have a clear direction. But at some point, I realized: Maybe that diversity is actually my superpower. So I stopped caring about judgments and just did my thing—and suddenly, everything felt lighter, more natural, and way more fun.
Music has always been my life. I started out playing guitar, obsessed with Indie and Post-Punk, then got hooked on synthesizers, went through a pretty intense Hip-Hop phase, and somehow ended up… here.
Do you remember your first gig at Blitz? Any particularly memorable or curious moments?
My first gig at Blitz was magical. I remember feeling at home from the very first track. Everything was great—from the artist care to the sound system and the crowd. The freedom of artistic expression in the whole Blitz environment is immense. I played the closing set and felt completely at ease, really vibing with the crowd. The energy was amazing, and I felt free to experiment and guide everyone through the night. It was one of those unforgettable nights where everything just flowed.
And then the night manager came up and asked if I wanted to play a little longer, and I was like: SUREEEE, let’s gooooo, I can do this forever!
What are your next musical steps? You also produce music and have played live sets—any updates on that front?
At the moment, I’m spending quite a bit of time in the studio, producing. I have a lot of open projects that I probably should finish at some point. I’m also eager to collaborate more—there are a few things in the works for later this year.
I played an analogue live set only once during the corona period, but it was far from clubby. It was more about capturing that pent-up lockdown melancholia and creating endless synth soundscapes, almost like a movie score. I think I’d like to explore that direction more as I get older, especially since I’m really into films. Or maybe I’ll start an Indie-rock or Pop Music project again. You never know!
You’re sharing the booth with longtime Blitz affiliate Julietta and Dixon at this Klubnacht. What are your thoughts on your fellow artists, and how are you planning to shape your set for the night?
I’m super excited to share the stage with Julietta and Dixon at this Klubnacht. Dixon is a big name, and what he and his mates from Innervisions have built is truly impressive. His sound has crossed my path a few times in my journey, and I really dig his aesthetics and overall vibe.
I’ve only recently checked out Julietta, but she seems really cool and down-to-earth. Her sound is diverse, and I love the way she brings her own unique energy into her sets. She gives me proper OG vibes, which I always appreciate. Can’t wait!
Beyond networking and self-promotion, what record is on repeat for you at the moment?
Okay, so this answer could be quite long, but I’ll try to keep it short.
I recently rediscovered JonathanBree—his track “You’re So Cool” has always been a favourite of mine. It randomly played in my girlfriend’s car the other day, and since then, I’ve had it on repeat. The strings in that song—oh my god.
Then there’s the new Doechii album, which is just massively good. She’s an absolute powerhouse.
And of course, GAGA— I still can’t believe that Gesaffelstein co-produced it. He was one of my heroes in my twenties. The album, wow.
Also, my friend ND completely hooked me on the new FKATwigs “Eusexua” album.
And if I’m being totally honest, I listen to A LOT of Nintendo music. They just launched a new music app with all my favorite soundtracks… perfect.
The two brothers, Jona and Ferdi Bockelmann (photo credit: Tobias Friedauer)—better known as Glaskin—have become a staple in our club program as residents, delivering sleek, contemporary, and irresistibly grooving Techno. Sterling sounds, quite simply. While each of their sets is a treat, thanks to their consistently refined musical skills, their performance on Saturday, March 1, 2025, will be an especially significant one: it’s live.
Anyone who has delved into their craft and history will know that the two brothers are live musicians at heart and have been pursuing the idea of a live set for years. This is a perfect opportunity to learn more about Glaskin, their musical journey, their approach to live music and performance, and what lies ahead.
One thing is certain: their peaktime set on Saturday will be one to remember. Dress to sweat!
Catch Glaskin performing live alongside Blasha & Allatt, Matrixxman, and Quelza on Saturday, March 1, 2025. Find out more here.
Forward-thinking Techno with analogue-driven rhythms and a distinctive sonic vision.
You’ve been making music together for eight years. Coming from a background in live music and traditional instruments like classical guitar and drums, how did Glaskin come to life in the first place? When did you first consider playing a live set as Glaskin?
We took our first steps as musicians in a band together but soon went separate ways to gain our own experiences. Ferdi became increasingly drawn to electronic music, started DJing while organizing the Kellerkind festivals, whereas Jona initially launched Glaskin as a more open and explorative project. We knew we wanted to make music together again and quickly realized we wanted to work within the realm of Techno. However, we weren’t sure whether we wanted to focus more on performing live or DJing. We started out as DJs but were eager to develop a live performance, which was around 2017 or 2018. We actually played a few early live sets back then, working with a laptop, but it never felt quite right—more on that later. During the big COVID break, we experimented with new production approaches, inspired by old-school Techno. Looking back, that period was the foundation of our current analog live set. That said, our very first live sets had nothing in common with what we’re doing now. It took time to mature, and the experiences we’ve gained in recent years were essential for its development.
Jonathan, you’re also active as a (classical) guitarist. You once mentioned that you don’t see much potential or space for merging Techno and dance music with classical guitar. Are there any other notable parallels or differences between performing an electronic dance music live set and playing in a classical setting?
One key parallel is the importance of sound and sound design. For me, the most defining quality of the classical guitar is quite simple: its sound. I’ve spent a lifetime working on creating a warm, rounded tone on the instrument. The same applies to electronic music—our focus on sound quality is just as meticulous, from fine-tuning each machine to ensuring every sound cuts through when played simultaneously. Another parallel is the goal of immersing the listener or dancer in the moment, making them feel alive.
However, the differences are just as striking. Due to the volume contrast, classical guitar performances can be incredibly intimate—you hear every tiny nuance and sound. This requires extreme concentration, which can be challenging but is always rewarding.
What was your approach to preparing the live set? And how do you perform it? Can you guide us through the process?
We want to be able to improvise during our live set, meaning everything is created in real time—there are no fixed track arrangements. We showcase our latest material, including unreleased tracks that may never be officially released. That said, we also include some of our released music, though often with a fresh twist or in a version no one has heard before. We perform using two Octatrack MKIIs, a NI Maschine+, and a Strymon Big Sky effects pedal. These are also the machines we often use in production, so if something new emerges during the process, it can seamlessly transition into the live set.
This isn’t your first live set as Glaskin. How did your previous live sets go, and how have those experiences shaped your approach to this one? How and why did you adapt it for Blitz?
Our first live set was years ago and had nothing in common with what we do now. Back then, we used a laptop alongside various instruments, but for our current live set, we wanted to go fully analog. We debuted this setup last November at the Spandau20 showcase at RSO in Berlin, and it was an unforgettable night for us. Everything we aimed for worked, and the energy was incredible. For Blitz, we’ve already prepared new material—tracks that no one has heard before—so this set will be a special one.
Tell us about your most memorable moments at Blitz: What was the funniest? And might have been the best thing that happened?
That’s a tough one, as we’ve had so many memorable moments at Blitz. One of the best was playing the closing slot of Unchained [festival in 2024], leading into the second day of the festival. It was a long set where we had the chance to showcase a wide range of records, transitioning from Techno to House. Being completely in sync with the dancers who stayed with us until the very end was an incredible and special experience—a long, unforgettable moment, so to speak.
The funniest moment was probably during a prime-time slot when we felt like we recognized someone dancing in front of us the entire time. It took us a while to realize it was German rapper Samy Deluxe, an artist we grew up listening to. Later that night, we ended up hanging out with him for hours.
Ten years of Glaskin is just around the corner. What’s next on your agenda? What are you most excited about?
Our mantra has always been to give our absolute best, whether in production or DJing, and we’ll continue doing so as long as we make music together. That said, we’re especially excited about our live sets, as they bring us immense joy and allow us to explore new dimensions of music production and dance music as a whole. This constant experimentation prevents stagnation—we’re always trying new things and improvising, which keeps the process fresh. Seeing how people resonate with our live set is truly rewarding.
Finally, our classic last question: What’s the last piece of music that left a mark on you—what’s keeping you pressing repeat?
Our upcoming Klubnacht on Saturday, 8th of February features our dearly beloved Steffi, alongside Earwax, Luke Hess, and Rosati—a winning quartet, all affiliated with Steffi’s Dolly imprint. We had a chat with Steffi, catching up from the ice-cold German winter to the rather mild and sunny weather in her current home, Portugal, to find out more about Dolly and Saturday’s lineup.
Find out more about the party on SAT 08/02right here and make sure to save a ticket in the presale right here.
And before you start reading: why not dive into Dolly’s catalogue on Soundcloud or here on Bandcamp right away?
Dolly started in 2010, ten years after your first label, Klakson. What made you start the label in the first place?
I mainly wanted to start something new and was inspired to work on a fresh platform. Klakson is very focused on Electro, and I wanted to launch a label for other kinds of dance music—so Dolly started mainly with House. Around that time, I also moved from the Netherlands to Berlin, which was a great opportunity to start something new musically, too.
Looking back, do you feel Dolly reacted to something happening in dance music?
No, it was all down to inspiration. To this day, there’s so much great music that keeps me excited and going!
So Dolly stems from a very personal and intrinsic motivation?
Yes, but that applies to all my projects and imprints. I feel lucky to be inspired by so much thrilling music, with new ideas constantly popping up. That’s what keeps me going decades after I first started! Truth be told, music is the worst and most dangerous drug—there’s no escape! (laughs)
Our upcoming Klubnacht features artists associated with Dolly—particularly the Dolly TS sublabel. What’s the story behind Dolly’s different sublabels?
Well, Dolly was always about four-to-the-floor music—unlike the Electro-driven Klakson or the youngest, studio-centred Candy Mountain imprint. It made sense to have different sublabels for different shades of dance music.
Dolly Dubs focuses on breakbeat & brokenbeat–oriented music for example, while Dolly TS is all about long-lasting Techno — high-quality music that tells stories. It’s not about tools you play six times and then forget. Instead, it’s music with lasting melodies and song structures—tracks that work not only in a club but also at home or even at work, for example.
When and how did you decide to start Dolly TS?
It began with an EP from my old friend Luke Hess. We had talked about doing a release for ages, but for some reason, it took a while. When he sent me some music, it just happened to be the perfect kick-off for the TS sublabel.
So that boils down to the inspiration you mentioned earlier!
Yes! That and the great reception the first EP received really motivated me to continue.
Tell us more about the other artists on the lineup: Rosati and Earwax.
I’ve known Rosati for a while now, and our understanding of Techno aligns perfectly. He simply makes Techno the way I believe it should sound.
I haven’t known Earwax for as long, but one of his tracks, 49 Hours, really caught my ear and I knew right away he would be a great fit for Dolly TS. He’s an exciting artist and puts out thrilling music.
Where would the world be without Dolly?
Well, the world would keep turning, but it would lack a label dedicated to pushing discerning and consistent dance music—quite simple.
What’s the funniest thing that has happened to you at Blitz?
I definitely remember that during the release party of my last album, The Red Hunter, when I played a live set the AC stopped working. It was one of the Cruise parties…
…which are always particularly steamy, sweaty, and hot events!
Exactly! And then, of course, another hot occasion—when Stenny and I played one of the first parties at Blitz Restaurant… in the kitchen, while the cooks were grilling burgers right behind us. I still remember our red-hot faces!
What can we expect from Saturday? How did it all come together?
Well, David (Muallem) and I have been friends and have worked together for a long time, and I’ve played at his clubs and events for years. We talked about doing a Dolly-focused night for a while and we’re happy to finally make it happen.
I’m excited to play the opening slot. I love when the room starts empty and slowly fills up. I’ll begin with some deep, spacious Techno, then Luke Hess will take over with his signature dub-leaning Detroit Techno, before Rosati and Earwax guide us through the rest of the night.
Finally, our classic last question: What’s the last piece of music that left a mark on you—what’s keeping you pressing repeat?
[thinks for a while] This track! Crazy tune. I’m thrilled. Really thrilled. One of the best remixes made.
Dance music—and especially techno—enthusiasts around Munich will likely recognize KareemElMorr‘s name. The Munich-based DJ and producer has become synonymous with consistent and highly refined techno, boasting releases on Ilian Tape, UMAY, Molten Moods, and many other exciting imprints. With his sleek and precise selections, he’s been a recurring presence in our lineups, but you’re about to see and hear a lot more from him at Blitz in the near future! If you’re not yet familiar with Kareem El Morr, now is the perfect time to dive in.
We’re thrilled to present Blitzcast 026 by Kareem El Morr, accompanied by an interview that delves into his approach, his perspectives on Munich’s scene, and his musical journey.
Kareem will be joining us on December 24th for our Unholy Residentsbash, and he’ll be back to keep the energy soaring during our NYE & NYD CRUISE XXX-TRA LARGE party on December 31st and January 1st.
And make sure to follow Kareem El Morr on the socials to stay up to date with all the exciting news to come. INSTAGRAM/ SOUNDCLOUD
Get to know Kareem El Morr as his Blitzcast guides you to a higher—or perhaps deeper—state of consciousness.
Karim, could you tell us more about your Blitzcast? How did you approach it, and what inspired you in the process?
This podcast is very much inspired by my perception of the Blitz Floor and its vibe, as well as the creative and musical direction of the club itself. I have always seen Blitz as a pillar that provides a constant in these fast-changing times, dedicated to techno’s foundations. That’s what I tried to aim for with my mix: something I’d love to hear at one of the club nights on the Blitz Floor—a seamless ride of deep and heavy bouncing beats, with a pinch of drama, melancholy, and depth. I chose tracks from my collection that are timeless classics for me—like those by Eduardo de la Calle and G-Man—blending them with newer material. The goal was to create a mix that highlights techno’s enduring brilliance over the decades, from the ’90s to the 2000s and 2010s. While I typically play sets filled with music that’s new to me, this podcast was a chance to dig deeper and reflect on my roots. To me, this balance of past and present aligns perfectly with Blitz’s vision.
As a DJ, what is your process and approach? What are you aiming to achieve in your sets, and who or what inspires you along the way?
My process is quite meticulous, maybe even a bit tiresome — I spend a lot of time preparing playlists tailored to different moods, with tracks sorted by energy levels. This lets me focus on the moment and the vibe I want to create without scrambling for the next track. While it’s demanding to spend so much time on preparation, I enjoy the process almost as much as playing itself. Being immersed in music for hours all by yourself is an introvert’s dream, to be honest—hahaha. Generally, the vibe of my set depends on the night, lineup, timing, and my mood. I enjoy building a constant flow of energy in my sets, with slow and deliberate transitions. The overarching journey of the night matters to me: starting off with a slow buildup, gradually taking the audience on a journey so seamless that they lose themselves in the music. Pulling this off is challenging but incredibly rewarding.
In the crowded dance music world, where do you see Kareem El Morr’s unique space? And what would the scene be like without your contribution?
I’d say my space is exactly where I am. Being a resident at Blitz is a pretty great position to be in, and I’m very grateful for it. The dance music scene today is fast-paced and often distracted by superficial trends, which makes it challenging to keep the focus on the music itself. I’d love to see the scene slow down a bit and give more attention to the art and craft of music. But that might be a bit delusional—hahaha.
You’ve played extensively around Munich in recent years. What makes Blitz stand out for you? How does it offer a unique opportunity for you in terms of sound and style?
To me, Blitz stands out as a constant source of high-quality music and programming. Electronic music has changed a lot recently, but Blitz has remained true to its values and vision in terms of musical programming, and I know how challenging that can be. It feels like the right place for me. Stepping onto that floor when it’s packed with an energetic crowd, dimmed yet warm lights, and a killer sound system always makes me shiver. It’s a very special vibe that invites you to play deep, heady music while still being open to funk-driven sweetness in the early morning hours. Blitz offers many opportunities for special moments and never makes me feel locked into just one style. Beyond the music, the people around the club are absolutely heartwarming and good friends, which makes the place feel even more like home.
Your next gigs at Blitz are at our festival’s Unholy Residents party on December 24th and on NYE & NYD. What can we expect from your sets? What are you looking forward to?
The 24th feels like a family gathering where the focus is on having a good time together. As far as I know, we won’t have a strict timetable, but I’m open to everything and will just try to go with the flow. Maybe some unexpected B2Bs will happen, who knows? I’m especially excited for NYE, where I’ll be playing back-to-back with Polygonia. It’s been a while since my last B2B set, and I think we share a lot of stylistic common ground, so there’s plenty of room for great moments.
How did you first get into dance music and techno? Everyone has a phase during their youth where they explore different music genres. For me, it started early. I was obsessed with music in my teenage years. I went through extensive phases of punk and metal when I was about 12—listening to bands like Rage Against the Machine and Nirvana. Later, I got into reggae and ’90s American hip-hop, which had a huge influence on me. At some point, I was introduced to electronic music, and it immediately clicked. I knew this was the music I wanted to explore and create, not realizing it would spark a 20-year love story. I was 16 or 17 at the time and already had turntables from experimenting with DJing hip-hop. I immediately went to Optimal, Munich’s go-to record store back then, and bought my first techno and house vinyl. It wasn’t anything noteworthy—probably some goofy stuff no one wants to hear today. But that’s how it started. Visiting my first techno club with my best friend Leo, also known as Vince, cemented my passion for this music.
As an “Urmünchner” (a true Munich local), how do you feel about the city and its scene?
I’m happy with Munich’s scene. It’s a good size with solid diversity now. It wasn’t always like this. About seven years ago, it felt like Munich was a house-focused music city, and it was tough to book underground techno DJs or host successful events. Nowadays, techno has gained more prominence, though I do wish house music had a stronger presence to balance things out.
What does 2025 hold for Kareem El Morr?
Definitely more music! I’m currently working on launching our new label, roots.audio, with Reduks and VSSL—two incredible artists and friends from Munich. We share a vision for “back-to-the-roots” techno, and it feels great to contribute to the city’s music scene. Our first release will be a Various Artists EP in February 2025. I’m excited to see where this journey will take us.
Beyond your own work, what music has been exciting you lately?
In techno, I’ve been loving Altinbas’ work—it’s emotive and driving, with a timeless quality. Outside of techno, I always return to foundational tracks like Rhythm & Sound’s “Mango Drive” and Monolake’s “Hong Kong.” These classics never fail to inspire me.
Dario and Marco Zenker, known collectively as the Zenker Brothers, are notable contributors to Munich’s dance music scene and history, through their own artistry and their renowned label, Ilian Tape. As foundational figures in our programme and regulars at Blitz Club since day one, they now return with a brand-new live set and a stunning live video on Resident Advisor, recorded on our very own Blitz Floor.
We sat down with Marco and Dario to discuss their journey into live performances, their perspective on DJing, and what the future holds for the Zenker Brothers and Ilian Tape.
You’ve been DJing and producing for quite some time: when did the idea of playing a live set first cross your minds, and when did you finally make it happen? Actually, our first gig together ever was a live set on New Year’s Eve 2009 at the old Harry Klein in Munich. We had two computers, and at one point, the computers weren’t in sync anymore, and we had to restart one during the set. It was pretty chaotic but a good experience. Since then, we’ve only played live a couple of times—at Unsound Festival in Krakow, Mutek Festival in Barcelona, Fusion Festival, and a few club shows. After many years of not playing live, this year, we felt the urge to do it again, but this time without any computers.
Ilian Tape as a label has developed a distinct range of dynamics, with EPs and LPs often serving different purposes. Your album productions—whether as Zenker Brothers or as solo artists—tend to take a more explorative, less functional route. Has this explorative mindset influenced your live sets? Our live set is pretty dancefloor-focused and functional but still explorative in some parts.
How did your live set come together musically? What was the initial concept? Who brought what ideas to the table? Walk us through the creative process and the techniques or tools you used. We just wanted to be as flexible as possible while playing live, so it’s basically improvised in terms of transitions, drops, and the whole arrangement. We used a lot of older and new material and made totally different edits out of it to perform. Our setup is very limited: 2 Octatracks + 2 Delays, 2 Stereo Filter Modules, and 1 SSL Mixer. We use mostly hardware to create new music in the studio and load everything into the Octatracks to create the tunes to play live. We also rework these tunes before every show, so we never play the same set, and the whole project is always evolving.
After years of DJing, how does performing live in a club compare? Is the feeling or interaction with the crowd noticeably different? It’s very different. During a DJ set, you can react much more and interact with the crowd on another level, while you are more limited when playing live, as it’s only your own music with a certain vibe. We also try to interact with the crowd as much as possible, of course, but we are pretty much in the zone while playing, as we are arranging all the tunes live.
How do you see the role of live sets in today’s electronic and club music scene? With the high-paced scene, is there a unique value or need for live performances right now? It really depends on the environment and if the crowd is open to it. Playing live is more personal than DJing and also more compressed in terms of the duration of the set and the possibilities to showcase your own vision of music.
As residents since Blitz’s opening, how have your DJ sets at the club evolved over the years? Have your experiences at Blitz changed your perspectives on DJing? We held different residencies in Munich clubs before Blitz already, and opening the nights, of course, has influenced our way of approaching a dancefloor and giving the music and room space to evolve in the best possible way.
What’s next for the Zenker Brothers and Ilian Tape? Any upcoming projects or milestones you’re excited about? We keep working on our live show, a new LP eventually, and, of course, piloting the label. We are very grateful to all the artists on the label for constantly sending us dope music. The label turns 18 next year, so we will work on some special birthday nights.
Reflecting on your long history at Blitz, what are some of the most memorable moments you’ve had? Was there a particularly funny or challenging experience? Most of the shows we played at Blitz were amazing vibe-wise, but January 1 is usually very special, and so are the Ilian Tape nights, of course. Playing the last set in the morning at a Cruise party this year was also a highlight. Once, during an opening set, the fire alarm went off, and suddenly several ready firefighters were standing next to us.
And lastly, our classic closing question: besides promoting your own work, what music have you been really into lately? A track, album, mix—anything that’s caught your ear? We both mostly listen to everything but electronic/club music when we are not producing, getting ready for DJ gigs, or compiling releases for the label. So, we really enjoyed the output from International Anthem Records, The Alchemist, Tyler, the Creator, and Pete Rock this year.
Rosa Red, the former Münchner Kindl now based in Berlin, has become a cherished regular at Blitz in recent years, captivating us with her dynamic blend of powerful House infused with touches of Rave and Breakbeat. For all the right reasons! We’re thrilled to present Blitzcast 025, showcasing Rosa Red’s euphoric musical style ahead of her upcoming performance alongside Gerd Janson and nd_baumecker on Friday, December 13th, at Blitz Club. To accompany her all-vinyl Blitzcast, we caught up with Rosa to delve into her highly creative journey so far.
And find out more about the euphoric celebration ahead this Friday with Rosa Red, Gerd Janson and nd_baumecker right here! www.blitz.club/program/20241213/
Tell us about the mix: How did it come together, and what inspired its creation? This one is all vinyl. I dug these gems over the last few months and really love them: 90s & some early 00 house, lots of raw drums, sassy & sexy vocals, deep organs…
This Friday, December 13th, you’ll be playing at Blitz alongside Gerd Janson and nd_baumecker. What can we look forward to from your set? Always depends on the vibe I take in, but definitely will bring some of the sassy records I played in the mix!
You started as a live musician in shoegaze and psych-rock bands, later DJed similar styles in Munich, and now play in many of the continent’s most discerning clubs. What were the key moments in your musical journey? How do live performance and DJing compare? Are there aspects of the live music scene you miss, or elements of the dance scene you particularly enjoy? My first club gig was a key moment –– shortly after the pandemic, for Ritual Digital at Harry Klein. Before that I mostly played in bars – and there music was more of a background element. Being in charge of a filled dance floor felt really powerful and hooked me! Also, my first Blitz gig was a key moment; I was so incredibly nervous! I warmed up for Job Jobse, and the crowd was amazing. What I love about DJing is that I can adapt quickly to a situation and to the vibe in the room. I am highly sensitive and always try to catch the mood of the dancers. Playing live, in a band, there is often a fixed setlist and you often can’t adapt spontaneously. If you compare shoegaze and the rave scene, they might be similar in the desire of the dancers to get lost in the music! I miss playing really loud and noisy bass and the feeling of playing live and dynamic. Still looking for a band to play bass in Berlin.
You’re also a graphic designer. Do your design work and music influence one another creatively? When I am working on new tracks, I often have a visual idea in my head pretty early on, so that influences each other. Sometimes, working parallel on design and music stuff feels a bit overwhelming as it’s too much creative stimulation. Then I need to take a break either on the music or the design side.
Your productions and mixes stand out for their bright, colorful sound. Do you see parallels between this aesthetic and your work as a designer? I like to spread good vibes!
All of your releases so far have been with Munich-based Permanent Vacation. How did this collaboration come about? I met Benji from Permanent Vacation in Munich. In the pandemic, I started to produce music and sent him my very first (very crappy!) tracks. He must have seen something in there and motivated and supported me since. Shortly after that, one of these first tracks was released on a PV compilation and I am super thankful I got so much support from the label over the years! EP 4 is in the works and will be out soon.
You’ve relocated from Munich to Berlin. How has this move shaped your approach to dance music? Being in Berlin gets you a bit back down to earth – there are so many crazy talented people in this city, which is scary but also inspiring! I miss the Munich familiarity though!
Your productions lean toward House. How has Munich’s dance music history, particularly its Disco legacy, influenced your sound? Before I started to DJ electronic music, I played records (didn’t DJ, selected them). I made a journey through so many genres! Started with the 70s and 80s records of my dad, then played 70s psychedelic music and rock, punk, then early electronic music. I was always interested in the Munich dance history, as I was interested in the overall music history.
You’ve played several memorable gigs at Blitz since 2022. Is there one moment that stands out? Any particularly funny or unique experiences? I had the honor to support so many legends at Blitz and am so thankful for that! Jeff Mills, Laurent Garnier, Honey Dijon … So many moments that stand out! A particularly funny story: I played the warm-up for a well-known DJ. I finished my set, was really happy, and had quite some shots and drinks with my girls. The DJ finished exactly at his agreed playtime and wanted to leave immediately after that – although the crowd was still in a great party mood. Muallem searched me and found me partying somewhere in the crowd. He asked if I wanted to play another slot! I was a bit tipsy and scared, but I did it, though. I played 2 more hours, and it was the most amazing night!
Our classic closing question: Beyond your own work, what music has been exciting you lately? A track, album, or mix—anything goes! I can’t stop listening to Equinox (Heavenly Club Mix) by Danny Tenaglia at the moment. Such an amazing, deep, hypnotic track.
Alessio Barletta, the Munich-based DJ and co-founder of the Discontinuous imprint alongside Lavandonia and Alles Andere, is a cherished figure in our Blitz orbit. Now, he’s back with a new Blitzcast!
Here’s what Alessio Barletta has to share about the mix:
>I believe this mix significantly reflects my personal musical journey. In the first part, I wanted to highlight a more minimalistic and house style, mainly from the 2000s, which embodies my roots and initial influences. It then evolves into more electric and dynamic sounds and melodies that blend electro and tech-house, reflecting the styles I love to explore and play. This transition not only represents my growth as an artist but also my desire to explore new emotions and musical atmospheres, creating a sonic journey that engages the listener. I aimed to add a unique touch by including some of my unreleased and edited tracks, leaving my signature on this mix, just as I do in my sets.<
Be sure to follow Alessio Barletta on socials and SoundCloud:
Blitzcast 023 showcases the talents of the hotly-tipped, Berlin-based Inox Traxx, who will make her Blitz debut alongside DJ Rush, ZISKO, and Kareem El Morr on Saturday, 23 November 2024.
We won’t say too much about this: here are the grooving goods to get you excited for her debut this Saturday! Here comes the sizzling hot Blitzcast 023 : Inox Traxx!
Find out more about Saturday the 23rd’s intriguing programme right here: https://www.blitz.club/program/20241123/
And make sure to keep up to date with Inox Traxx on the socials, too: https://www.instagram.com/inox_traxx/
Blitz Club regular Victor has graced our decks in numerous formats and lineups, showcasing a sonic identity that’s distinctly fluid. Yet, no matter where his musical journey takes him, one thing is certain: Victor is a guarantee for classy, refined sets and skilled mixing.
We’re happy to present another Blitz Live mix, a live recording of his opening set from Friday, the 6th of September alongside Marie Montexier & Roman Flügel.
Get a glimpse of the multifaceted selector’s stunning skills with this mix but make sure to catch the up-and coming artist thisSaturday 09/11 at our lustful Cruisecelebration!
We’ve sent Victor a few questions concerning the mix, experiences at Blitz and much more!
Let’s start with an easy question: Do you remember your first gig at Blitz? How did it go? And do you recall the track you opened with?”
I think it was in 2018. I don’t remember what I opened with, but I do remember closing the set with a tempo change and Jonny L’s “I Want You,” which was a move that could have gone either way but fortunately was well received.
The mix was recorded live at Blitz in early September 2024—how do you feel about it looking back?
Pretty good! It’s from what has somehow become my favorite slot at the club: opening the more house-oriented Friday night. I feel like this particular mix represents how comfortable I am now in that booth, because after playing there more often over the past few years, I feel like I can truly experiment and push the boundaries of the set’s theme. For example, in this recording, I’m playing some old Karenn and British Murder Boys, but the tracks still work within a house context, in my opinion.
What can we expect from your set at the upcoming Cruise?
Definitely a higher pace and a harder, much more techno-oriented sound, trying to fit in with the Cruise vibe! BUT, having played the exact same slot a year ago, I noticed that slipping in some housier, lighter moments can work for sure. I’m really looking forward to it!
You’re often described as a ‘sonic shapeshifter’ and an extraordinarily adaptable DJ, able to fit a variety of musical settings and back-to-back partners. How do you see this description? What’s at the core of your musical style?
I’m honestly proud of it because that’s what I’d read about my favorite DJs growing up, thinking, “One day I’d like to be like that…”
All jokes aside, I have thought a lot about why I can never stick to a style for a whole set, and it might just have to do with who I am as a person and how my brain works. Sometimes, it’s all over the place. I’ll see a DJ ride a groove for ages, locking in the crowd like crazy, and think, “Damn, you’ll never achieve that.” But then again, I have to remind myself not to be too hard on myself about it. Playing back-to-back has just naturally evolved from a love of sharing music with my friends and exploring personal relationships. I’ve been very lucky to have had some memorable B2Bs at Blitz with some of my favorite DJs, like Verraco, Solid Blake, mad miran, Stenny, and more!
You also run the Magic Power label—could you tell us more about the idea behind it, the music you release, and the people involved?
The original plan was to put out music by my friends because no one else would, and I wanted people to listen. That was in 2016. We’re now six EPs in, and I’m really enjoying the work. The pandemic forced a bit of a hiatus, but the label is now operating again. We’ve already released three EPs this year, and I’m currently working on a slightly bigger project that should come out next year. I’m very excited about it!
What’s the most curious and the most memorable experience you’ve had at Blitz?
Playing the closing set at the November Cruise last year was a very memorable experience for me. I was playing vinyl and accidentally let the record run out! I didn’t expect it to happen in that moment and got very, very mad at myself for messing up that hard, but the crowd started cheering and made me feel better about it. Meeting one of the owners for the first time, who came to the booth while I was playing, was incredibly funny looking back—he cracked a joke that left me totally scrambled at first.
Finally, our classic closing question: Besides self-promotion and networking, what music have you been really into lately? (Track, album, mix—anything goes!)
I’m currently listening to the album Worm by Ozoyo, a wonderful record of ambient and trip-hop with a very unique sonic fingerprint. I can’t wait to be back playing an opening at Blitz so I can play some of this on the system! Thanks for continuously having me at the club and for supporting me with mixes here. Blitz’s support means a lot to me and has really changed my outlook on Munich as a whole.
Berlin-based DJ Yamour is an artist on the rise, with a trail of successful gigs at Blitz, numerous Giegling parties, and more and more appearances at Europe’s most discerning clubs and festivals. It’s the perfect time to get to know this exciting selector, who will be gracing the decks at Blitz even more frequently in the future!
We recently sat down with Yamour, who spent years refining her musical knowledge at the iconic Hard Wax store in Berlin. Rooted in American House & Techno, Yamour’s sets are all about the groove. In our Blitzcast 022 and the accompanying interview, she shares insights into her stunning selection and what’s currently on her mind. Blitzcast 022 is a beautifully lush and dubby, yet decidedly funky and grooving affair, inspired by our BLITZ Floor: a great start to dive into the weekend!
Catch her in action this weekend at Cruise and our Sunday daytime party, > Who Let Them Cook? < ! Don’t miss out.
And make sure to keep up to date with all of Yamour’s future plans: https://www.instagram.com/yamour_/
Can you share what inspired your latest mix? What was your thought process while crafting it?
For my Blitzcast, I was inspired by the club’s iconic wooden dancefloor and the punchy, warm, and dynamic Void sound system. The acoustics of the space are organic yet powerful, inviting dubby, funky, rich tunes. During last summer, I played a lot of silky tech house grooves, which definitely influenced the direction of this mix as well.
How did you first get into DJing, and what motivates you to keep going? Do you follow a specific approach when creating sets?
It actually took me a long time to admit to myself that I wanted to be a DJ. There are so many DJs in my hometown of Berlin that it kinda felt silly to pursue that path myself. But then it just happened organically. And I’m really glad that it did. I’d say I approach my sets with a mixture of intuition, my current mood, and the sound I’m into at the moment. As someone who only plays vinyl records, doing my homework before a gig is essential. Understanding the vibe of the event, my place in the running order, and other important details that will influence the sound and energy.
Besides DJing, you’re involved in curating the Good2U Festival in Görlitz, Eastern Germany. What drives you to organize such an event, and what do you hope to achieve with it? Will there be another edition in 2025, and what can we expect from it?
Good2U has a very special place in my heart. We have created an intimate festival that is truly one in a million. It was clear from the start that we wanted to curate interesting lineups defined by our own concepts, rather than just following Instagram algorithms. There are so many amazing artists out there who are skilled, whether it’s storytelling DJs or live performers. The location is a former GDR warehouse in the woods, which provides a unique mix of festival and club atmosphere, as well as an overall comfortable festival experience. The feedback we have received so far from guests, artists, and volunteers has been really overwhelming and is the biggest motivation for us to continue following our vision. It just shows how much the scene craves authentic and passion-driven projects. Good2U will definitely be back in 2025 with all the usual good vibes. I’m happy to see our festival blossoming and the Good2U community growing.
Do you remember your first gig at Blitz? How did you feel, and how did it go?
I owe my first gig at Blitz to Freddy K, who invited me to his KEY Vinyl showcase. A big shoutout to Alessio! It was a really special night for me. Blitz Club had been on my bucket list for a long time, not only as a DJ but also as a raver. As I walked in, I knew that Blitz was the real deal. A proper club with a great sound system, good lineups, and a lovely, dedicated team. It just clicked
What has been the most curious or memorable thing that happened to you at Blitz?
Playing the closing set after Ben Klock on the Blitz floor with a freshly torn ligament and a swollen, bruised ankle. The only way I survived this was thanks to my Crocs and lots of painkillers. I couldn’t walk properly, but I managed to drag myself to Munich and back to Berlin with two record bags. Definitely not the wisest decision I’ve ever made, but it was worth it
What can we expect from your sets at Blitz this weekend, for both Saturday’s Cruise party and Sunday’s Who Let Them Cook event?
I will have the pleasure of sharing the decks with Muallem for two B2Bs this weekend. The first one is a techno closing at Cruise, right after groove queen Ogazón. This will be followed by an 8-hour B2B at the restaurant where we will be serving up delicious after-hour house tunes. I’m mad excited for this intense B2B marathon with Muallem, who is not only a great DJ and the heart and soul of Blitz Club, but who has also become a very dear friend of mine.
