POLYGONIA talks QEONE and her upcoming label night at BLITZ

Lindsey Wang is a unicum in Munich’s lively techno-microcosm and a regular behind our booth, always balancing dynamics and dramaturges, embroidering rolling grooves with a a hypnotizing, experimental sound palette.  

She has made a name for herself not only as a skilled DJ, but also as an accomplished producer and head of the IO collective as well as her own QEONE imprint, as part of the contemporary jazz/electronic music fusion project Lyder and her collaborative work with Munich drum wizzard Simon Popp. Her portfolio is proof of her tireless and multidisciplinary approach to music that draws heavily from nature as well as her deep-rooted knowledge about instruments and musical theory. Her production’s characteristic and complex sounddesign exude an eerie, organic feel, ranging from energetic, dark deep Techno to Downtempo, Grey area to textual and harmonic Ambient. 

We sat down with Lindsey ahead of her LIVE performance at Blitz with Simon Popp on Thursday, January, 25th as part of our last edition of Intimacy Quarterly and her own qeone night, taking over our Plus Floor on Saturday, January 27th with Arkajo, Woody92 and herself. Read on to hear what she has to say about qeone, her upcoming sets at Blitz, the local scene and much more.

And make sure to check out what QEONE sounds like right here!

Listen to Polygonia & Popp’s meadow of herbal and mystical Electronic sound on their first LP > Candid < and enjoy the read! 

And make sure to follow Polygonia as well as qeone on social media for new releases, gigs and much more.
https://www.instagram.com/polygonia/
https://www.instagram.com/qeone.rec/

You already launched your first label IO with Dycide and MTRL in 2018, what was your motivation behind forming a new label, QEONE? What is it about? Try and give us and readers new to the dance music scene an explanation without musical terms, too.

I founded this label to offer a stage for newcomer artists next to well established ones. My intention is to feature my very own idea of a sound universe. QEONE is all about a specific kind of musical aesthetic. There are no genre boundaries – all tempo ranges are welcome, whether it’s more driving, more floor oriented or more relaxed. The emphasis lies on groovy, intriguing rhythms and precisely designed sounds which appear organic. With that I mean that this aesthetic creates sensual associations in the listeners head to natural elements such as wood, mud, water, animal sounds, breaking ice etc. It can sound very psychedelic or cheeky in some moments, but also really harsh and brutal, it depends on what kind of story the artist want’s to tell! It is very important for me to release musical pieces which have unique elements which don’t sound overused.

Where do you feel you/QEONE & Blitz connect? And what’s your perspective on Munich and its music scene, especially the club scene at the moment? What do you cherish about the city and its scene besides all its hurdles?

I feel that Blitz is a very forward-thinking club with a lot of openness for different types of genres. From House, Techno, Bass music to Live concerts and more, a wide range of styles are covered. That makes it a perfect bed for labels nights! Furthermore it couldn’t be more fitting that Blitz has a big focus on very nicely tuned sound systems. For the music of QEONE it is very important to have a proper PA with clear frequencies in all ranges as sound design is the focus of this label. 

In my experience, the scene in Munich is tightly-knit, and that’s what I love about it. There are so many interesting collaborations possible in this beautiful network of artists, labels and other people in the cultural realm. Everything is closely connected, and many people help each other out. There are many great artists based in Munich who I admire strongly, many of them are actually residents at Blitz.

What can people new to QEONE, and people already familiar with it expect from your upcoming PLUS floor takeover? How did you discover and get to know Arkajo and Woody92? Have you maybe even collaborated with any of the artists before? What made you choose these artists for your upcoming plus floor takeover?

It will be a very groovy and psychedelic infused night that’ll stretch from slow beats up to very fast trippy techno. A full palette of moods, from bright to dark. I actually discovered Arkajo through my friend and colleague Dycide. I was instantly hooked by his captivating sense of groove, and I love his house-y influences. He has such a great feeling for rhythm, his drum design and programming is so unique that it makes it always easy to recognize his sound. I also adore the fact that he features some bass music elements and broken beats in his productions. I produced a remix for him last year, it will be released on his imprint very soon. 

And about Woody92, I heard him play for the first time at the Positive Education Festival 2021 in France. I was really impressed by his deep skill of trippy hypnosis. It was like a ride on waves of very fast beats with rich psychedelic sounds. I got to know him online before, when he contacted me about my music; he was actually one of the first well established artists who found my releases.

I am so excited to have them both for my very first label night on the PLUS floor, it is one of the label nights which I am looking forward to the most as I know that they are going to turn this room into sound paradise of grooves and trippiness. I’m sure that it will be hard to leave!

The first QEONE night on our PLUS floor takes place during our GLITCH NIGHT, in cooperation with Munich’s Pinakothek der Moderne during their GLITCH exhibition. The idea of glitch art is about working and provoking digital malfunctions, and this concept was essential to Detroit Techno too. QEONE looks for inspiration in a very different part of life, though: nature. Can you tell us more about what shaped the approach of the label, and why you believe this approach and perspective is so important in a technology driven and loving music scene as Techno and Dance music? And why is having QEONE with its philosophy on the PLUS floor tonight such an interesting contrast to the idea of Glitch Art?

I believe that we need to reconnect with nature much more, but not in a simple or > boring < way as it is perceived very often. There are so many interesting sides about it. Some are really funky such as the birds’ courtship dances, then we have all those really magnificent mushrooms in all sizes, shapes and colours. There are animals which have multiple genders or really mean predators in hilarious disguises. Nature is full of inspiration, it nurtures my own body of work and as it is such a huge source, I also wanted to widen this expression in form of my label. Especially in times of climate change, we must not forget the importance of the preservation of our environment, that’s why I like to connect the two worlds of technology and nature. In the end, technology is a product of the human mind, which after all is also a product manufactured by nature. Many principles in fact work quite similar when looking into the natural and the technological world. Both oblige the physical laws and many technologies are inspired by natural processes. That’s why I think, that the GLITCH night is a very interesting contrast. Because digital malfunctions can also be compared to natural mutations. As you can see, there are definitely strong parallels, but they are happening in different mental universes. 

Tell us more about your personal work, as Producer/DJ and as part of Lyder, for example? What do you like about working on so many projects at once? And how did the work with multiple labels shape and change your personal approach to producing and DJing? Also: what’s a side of your approach that you believe people rarely notice? 

As my musical journey started in the instrumental field, I love to weave it into my productions. Next to it, I enjoy it a lot to work with other talented instrumentalists such as Moritz Stahl, Simon Popp and Niklas Bühler. It keeps the musical mind fresh and offers new surprises also for myself. 

I like to work on several projects at once as it keeps my mind awake, I don’t have monotonous working days and that’s exactly what I strive for. There are so many new topics all the time, so many new things to learn in all kinds of directions. I like to challenge myself and I’d say that working on all these things is definitely a big challenge.

IO changed how I perceive Techno in general. Before the label existed, I actually didn’t really listen to Techno. I was more focused on bass music and IDM. That’s why I’d say that IO definitely had a huge impact on me, it made Polygonia to what it is today. It also influenced me to work more with my friends within the label such as FTP Doctor, Dycide, MTRL and Tenzia. We showed each other various production techniques and music references. They’re fruitful relationships until this day. Nowadays, we’re expanding our activities to the realm of audio software and we are also intending to organize more events in Munich. It’s a natural development in which we have a constant exchange. 

QEONE, with it’s unique workflow has its own unique influence on me. As it’s already closely connected to my own aesthetics and to what I like in particular, the main influence it has on my DJing is that I play many track that we release on the label. What makes me smile every time! The main impact it has on me personally is the social component of it. I am constantly connecting with so many different artists, it tightens my bond with them and creates the sense of something we create together, which is an amazing feeling. 

And, hard more: how would you describe your music to someone who doesn’t know anything about electronic music and dance music?

It’s music that consists of hypnotizing bass heavy, drum beats which at times reminds the listener of tribal rituals. It’s often accompanied by intriguing harmonies and peculiar sound textures, sometimes even by polyphonic vocals. The atmospheres remind either of dark caves with howling winds or of riding a light breeze over the clouds. Peaceful forest scenes, but also sassy dances can be associations of certain works. They all have in common that they have an electrifying human touch, but still far off from the industrial world.

Tell us more about your personal connection to Blitz: what was a great, a curious and what was a challenging experience you’ve had here as an artist? 

The most challenging experience was the first setI played at Blitz. Of course, I wanted to convince with my music as I was still quite unknown in Munich, so I felt some kind of pressure from myself. Nevertheless, I really enjoyed this one as I finally had the chance to play on this amazing sound system in the beautiful booth – one of my favourite ones! The curious experience was the closing set I played in October 2023. It was at the Ritournelle which also featured artists like Busy Bandulu Sound, Lady Lykez, Martyn, Moonchild Sanelly and Schlachthofbronx. The night was pretty footwork and dancehall infused, definitely a different area of music than what I usually do. But I adapted and played really breakbeat-ish, driving sound which worked very well after Martyn. It was cool as I finally got to play broken beats only. Something which I rarely do as most of the usual contexts require more four to the floor beats. And the greatest experience, that’s really hard to say as there have been various. I really enjoyed the b2b with Muallem on Christmas for example, but also my two sets in May and September last year. Two completely different ones as it was an opening and a closing set, but I had such a great flow during both; a feeling which every DJ loves I guess. I’d call Blitz my home which is why I’m reaching my comfort zone very quickly.  

What’s next for you? What else have you planned, what can we expect?

Up next is my > Da Nao Tian Gong < EP on Midgar Records. It’s a very dreamy yet tribal record, made from parts of my live set which I played at Monument Festival 2022.

Soon, I‘ll have two exciting shows coming up. It’s the Dekmantel showcase at Tresor on Feb 3rd and Wigflex at The Cause in London on Feb 10th. 

Final question: aside from personal connections and self promotion, networking, etc – what piece of music is on your personal heavy rotation right now? Tell us more about what you adore about it, too.

My personal favorite at the moment is the LP > I‘ve Been There < by Ghost Warrior. I love this crossover of soft jazz drums and electronics. It‘s so deep and gentle with loads of tension in it. I really love genre fusions and this one is definitely an outstanding one for me.

ORBITAL REFLECTOR INTERVIEW

Orbital Reflector is a Munich based collective that have gifted our PLUS floor with their inventive musical curations more than once, by now. They have been responsible for some of the town’s most exciting events over the past years with an acquired taste in left field electronic dance music aesthetics, that challenge DJs to develop new and evocative musical dramaturgies and are just as soulful and seductive as well as experimental and unheard of – and equally suited for deep listening and enchanting dancing. Orbital Reflector develop well needed, alternative narrative to contemporary dance music that prove that harder, faster, stronger isn’t necessarily better. 

It’s clear just by looking at their musical curation that they’ve got a lot on their mind about (dance) music and events.

We had a few questions for Kiawash, Paul & Simon ahead of their upcoming date on our PLUS floor on Saturday, the 13th of January with Mika Ori, Nosedrip and Zwist, next to Marie Davidson, DJ Stingray, Jonas Friedlich and Bae Blade on our BLITZ floor. Here we go!

Make sure to follow Kiawashs instagram for all the news about upcoming Orbital Reflector events & news: https://www.instagram.com/kulanz.mfg/

Hi Kiawash, Paul & Simon. Let’s start with a very general question: What is Orbital Reflector about?

K: Hosting and supporting artists who play music rich in contrast and finesse. Appreciating them staying in tune with their own creative practice in the bigger picture.

How did you get to know each other – and what was your main motivation behind forming Orbital Reflector?

P: We started out with 6 founding members, around 5 years ago, mutual friends of which only the three of us remained living in Munich, in the end. After playing a rave in the outskirts of Munich, the idea came up to run a format that all of us were missing. In fact, the motivation was to explore a hypnotically slow but heavy, maybe even industrial sound. As most of us are DJs, there was a desire to establish an environment or platform where we could regularly express ourselves in that field. We are incredibly thankful to Import Export for harbouring this venture from the very start, as our early development would not have been possible in any other place.

How has the motivation evolved and maybe even changed over the course of time? How did you adapt to new developments in Munich?

S: Over time it became a major priority for us to focus on aspects like the room, the lights and the unique experience of a specific event, rather than playing a DJ set. Leaving aside the adolescent ego to a certain degree might have added to this shift.
P: The projects of OR and FORUM are sometimes countering certain commercial trends that we consider as problematic. That happens more or less organically. We also try to avoid adapting to some of the developments happening in the city. Still, we critically discuss those developments within the cultural landscape on a regular basis.
K: There are two things we definitely adapted to, after the lockdown breaks. One is the increased openness between local artists, which we celebrate with FORUM. The other thing is quite a “bummer”: Most of the indie promoters, including us, were not able to sell as many tickets as before, which was not only, but also due to an impressive variety of cultural events. Even if we appreciated that variety individually, it in fact resulted in lots of financial struggle within the scene.

[note from the Blitz team: Orbital Reflector’s SoundCloud page is full of the thrilling, conceptual sets recorded from their highly recommended FORUM event series:

https://soundcloud.com/orbital_reflector

Were there any inspirations in form of other collectives and artists, from Munich and elsewhere?

K: The Pappen-Parties and Monticule Festival were definitely some of the important Munich-related sources of inspiration for Orbital Reflector in the early days. Lena Willikens and MSJY are worth mentioning here in terms of DJing. We would also listen a lot to Hivern Discs, Versatile and of course, Stroom.

What can people new to OR, and people already familiar with OR expect from your upcoming PLUS floor takeover? How did you discover and get to know Mika Ori, Nosedrip and Zwist?

K: It is the first time we are having (even two) guests over from Belgium and I believe that the Belgian heritage (as referring to New Beat, Acid, Trance, EBM, …) is going to be somehow present in that room. I have a feeling that it is going to be exceptionally euphoric and sweaty for a January night. On the other hand, there is a passion for experimental and calm music which all of them, including Zwist, have in common.

S: That is also how we got in touch with them in the first place. Paul, Kiawash and I have been following Nosedrip on NTS radio for quite some time now. Paul Linke was the one to play lots of releases from Ziggy’s label Stroom during our parties and listening sessions, sometimes during the setup ritual.
Mika Ori hosted lots of great shows on LYL and Kiosk Radio, including a very recommendable back to back with NVST, that was aired last summer.

When Kiawash and I went on a “research-trip” to Offenbach to listen to Lena Willikens, upsammy, Laurel Halo and many more on behalf of the EOS-festival, I met Zwist for the first time, as we spontaneously visited him at his studio in an industrial area outside the city.

Have you maybe even collaborated with any of the artists before?

K: Yes, in a way! When I played my first ever conceptual vinyl mix at an art exhibition in Munich, Zwist performed a fantastic noise live set. That was how we got in touch on an artistic level, for the first time.

Tell us a bit more about the previous Orbital Reflector parties on our PLUS floor. How have the parties changed over time?

K: We started this series at Blitz about a year ago, in February 2022. By now, we’ve seen our OR night in the PLUS room in relation to various conditions, considering both the lineups on the Blitz floor and the seasons of the year. In such a takeover – I actually prefer not to call it that – we, as artists, ourselves appear mostly in the openings, sometimes together with friends from the local scene. While curating the selection of guests, who appear in the “peak time” and closing slot, I try to follow a holistic approach. Apart from looking at their gigs, radio shows and releases, I am searching for people who are involved in running labels, curating music programs and culture activism. Mika Ori, for example, is contributing a lot within that spectrum. I want to emphasize her work for the platform “Psst Mlle” here. A diverse representation of artists within the program has also become more and more fundamental over time.
P: It is quite difficult to describe the development of the PLUS nights, as there have only been five editions so far. Each specific night had a unique theme to it, based on both the lineup and the artwork. An according vibe resonating to that did in fact manifest on the dancefloor in the end. Let’s see how the themes develop this year!

What were highlights or curious moments?

S: My highlight was Beau Wanzer from Chicago and the way that his set was so perfectly going together with Silent Servant’s closing in the BLITZ floor. Lovely enough, it turned out that they were friends.
K: Marylou really tore it down in her closing set, too. People were losing their minds there!

P: Diamin managed to fill up the PLUS floor within the last hour of our night in November without dropping a single predictable tool. It was an impressively flawless vinyl set.

Where do you feel Orbital Reflector & Blitz connect?

K: Blitz and OR connect in terms of their openness towards a whole spectrum of musical aesthetics, although we are trying to maintain a sense for tradition and heritage in music history. I also believe that we share a passion for hospitality!

You’ve been hosting Orbital Reflector events at various venues in town.
How does this change the way you program and approach events and your sets?

S: When planing a music event, we seek to take into consideration what the location is. While venues and spaces certainly transform over time, we still try not to impose too many aspects, if we regularly contribute with the venue as a collective,
K: Unter Deck is a bar where we simply play and dance, sometimes befriended DJs join us there. At Import Export, we spend lots of time and effort regarding PR, production, logistics, lights and so on, acting as independent promoters with lots of responsibilities. Our nights at Impex are intended to showcase many livesets, concerts and lots of exchange between genres, aesthetical and formal ideas. At Blitz, finally, we try to create a proper club night in the intimate dance floor that is PLUS, while extending the approach that we developed over the years. Curating individual visual artist positions for our posters added a new dimension that I personally enjoy a lot.

How does the reception change? And also: what’s thrilling to you about hosting events in different venues?

S: At different venues the crowd is also different. Hence, the reception inevitably changes. We want to find a balance between addressing different audiences and consistent programming. The thrill lies in variable limitations, resulting in excitingly diverse experiences.

What’s your perspective on Munich and its music scene, especially the club scene at the moment? How do you feel it is doing and what do you think about it?
What do you feel Orbital Reflector – and its sibling Forum – contribute to the scene?

S: I am impressed by the drive of the “next raving generation”. In comparison to the hype about “raving”, the demand for a broader representation of electronic music, let alone experimental music, is comparably small, though. We try to address that. FORUM plays a special role here: It focuses on giving local music enthusiasts an immersive listening scenario with no party pressure and no competition. We are so grateful to have hosted such a colourful series of contributions. All of them are accessible on the OR soundcloud page. I think the recordings speak of their own.

How is the process of establishing such a specialized format in Munich?
Were there any unexpected struggles as well as pleasant surprises along the way?
And how have the experiences from Forum changed your own approaches to DJing and programming the Orbital Reflector events?

S: The process is tough. This platform actually requires a permanent space without costs, as the setting is supposed to be intimate, and the entry fee should be as low as possible, but we dream of it being free entry.
Personally, FORUM allowed a connection to the musical language of people in the scene. That led to new personal connections and feelings of understanding and hope, that are especially meaningful after the pandemic.

A particularly pleasant surprise and experience: KuH [Klein & Haarig]  Festival 2022! The energy of the FORUM concept within the festival setting was eye-opening and unique, showcasing a new form of collaboration with LAF e.V. in Pforzheim, that we try to sustainably develop further.

What’s next for OR? What else have you planned, what can we expect?
Are there maybe any exciting collaborations with other crews and collectives in the making, too?

K: Yes there are many collaborative efforts in the making, so 2024 is going to be an exciting year.

You’re all passionate DJs too. Tell us more about your personal approaches – how have they grown and changed with the development of Orbital Reflector?

P: Definitely, when it comes to mood I tend to more or less aim for similar ideas I worked on several years ago, but with styles, genres and tempi I ́ve become much more open.
S: Hell yeah. Being able to work in a voluntary project like this offers some great impulses and opportunities to learn. My taste and approach to both DJing and music in general keeps on evolving simultaneously to our work as a collective.

K: Research, booking and event production result in quite a nutritious soil for creativity. Unfortunately, there is kind of a trade-off in terms of time capacities. But my DJing has definitely been shaped through hosting and collaborating with the many artists that we met along the way. I think all three of us have by now been hooked by a certain thrill that you can get by diving deeply into discographies.

Final question: aside from personal connections and self promotion, networking, etc – what piece of music is on your personal heavy rotation right now?

P: For some time now it is definitely Piero Milesi – Avanti La Tre

S: Burago – Untitled (A)

K: Teakup – Pad Thai Mystic

JONAS YAMER talks Molten Moods & new MM 16 compilation

Jonas Yamer is a Munich based audiovisual artist and musician and one of the cornerstones of Munich’s current electronic music scene. Be it as a DJ that often performs at Blitz and consistently delivers dystopian dancefloor delights, as part of the stunning Post-Techno band Carl Gari (who have performed at festivals such as Rewire, Berlin Atonal and Ritournelle right here at Blitz), as an audiovisual artist and as the mind behind Munich’s Molten Moods imprint.

Molten Moods just recently released their new compilation MM16 – we sat down with Jonas ahead of his performance at Blitz on Saturday, the 6th of January alongside Rebekah and Hadone to talk Molten Moods & the new compilation, the Munich scene and a few more things.

We highly recommend you give MM16 a spin while going through the interview.

https://moltenmoods.bandcamp.com/album/molten-moods-16

And make sure to follow Jonas Yamer as well as Molten Moods on social media for new releases, gigs and much more.

https://www.instagram.com/jonasyamer/

https://www.instagram.com/molten_moods/

Here’s a quick one to start: for anyone who hasn’t heard of molten moods yet – what is MM 16 and Molten Moods all about?

Electronic music that ventures into various realms with genuine curiosity.

What connects the music and the artists on MM 16?

I have been collaborating with some artists for quite some time, such as LUCKER, crouds, and, of course, David Goldberg, who is represented on the compilation with his new project QNRG. He has been shaping the label for many years as a producer and visual artist. At the same time, I aimed to bring new artists to the label whom I found intriguing recently, such as Polygonia, Lazarus and Glaskin. While there is a certain focus on Munich, it’s not about local patriotism but rather because I have been living in the city for many years and have personal connections with artists here. Another focus is on techno, but it was important to me not to create a smooth dance music compilation. Tracks like “Anthocyanin” by Ark Noir or “Decomposing” by Rosa Anschütz add a touch of diversity, making the compilation as a whole eclectic, in line with the general spirit of Molten Moods.

And aside from musical terminology – how would you describe the music to, let’s say your grandparents or to anyone, that’s not familiar with electronic dance music?

Music that pulls you in, takes you on a journey, and ideally releases you somewhere along the way. Repetitively arranged music, blending recorded sounds with digital and analogue sonic instruments, heading for the goal of sonic intoxication.

Aside from the consistent quality of the tracks – is there any music piece worth noting, maybe a piece that surprised you, a special collaboration, an unusual personal connection?

“Loutioreitaer”, by L_ue stands out with its conceptual musicality, especially considering that it is Luis’ very first released track. What a debut! I also resonate with GAEL’s track; it’s a techno piece that somehow carries a gritty garage punk vibe. Perhaps it’s because, like me, she also does guitar music alongside her techno project. Nothus and Cressida dropped their first collaboration, “Nightshade,” on MM16, and it’s absolutely sick.

Molten moods has been around for a few years now. How does MM 16 reflect on MM‘s development as a label, where does it stand in club culture’s current climate, and where might MM go on from here?

Molten Moods has evolved with the musical development of its artists. The releases interconnect, but don’t follow a serial pattern. I find it fascinating to engage with new movements; there are gems (almost) everywhere.

There are a lot of thrilling contributions from artists in and around Munich. What are your thoughts on the local scene right now? And is there any development, a movement worth noting right now? Where do you see it heading right now?

I appreciate the vibe that has emerged in recent years. It’s a small but vibrant community of artists who often know and support each other. In my circle, it’s not about being cool; it’s about the sound. Moreover, there are interesting connections between electronic music and jazz. I can’t pinpoint a typical Munich sound, but in the future, I believe house will replace the current hard techno trend. The pendulum will swing in the other direction again. This may not be exclusive to Munich, but the city will likely embrace it early.

Tell us more about your personal contributions to the complication?

I created “Save Me” with my longtime friend Rosa Anschütz right in the midst of the pandemic. I recall the fun we had jumping around in my apartment while crafting this intentionally catchy track. Despite its ironic undertones, the song also reflects a genuine sense of despair and powerlessness. I’ve been good friends with Julian aka LUCKER for a few years. During a session at his home in Berlin, I sang the four-part choral over the incredibly destroyed beat of “Spiraling Ploddingly”. It marks the beginning of other releases with vocals from me. We’re also currently working on a Carl Gari album where I’ll be taking on the role of a vocalist.

Last questions incoming – are there any events planted to celebrate the release? Where can we catch you and the MM contributors next?

Catch me on January 6th at Blitz!

Final question: aside from personal connections and self promotion, networking, etc – what piece of music is on your personal heavy rotation right now? Tell us more about what you adore about it, too!

Aluk Todolo – Voix

Loek Frey – Add Interaction

Spasms and Savagery (30 Years of Downwards)

Mr. G’s > Pearls Don’t Lie On The Shore < out on CHILDHOOD named one of Resident Advisor's albums of the year 2023

Resident Advisor’s albums of the year feature is a must-read for us at the Blitz office anyway, but we’re even more delighted that Mr. G’s current album, that’s out on our very own Muallem‘s label CHILDHOOD, has been named one of 2023’s best albums. If you haven’t had a chance to dig into Mr. Gs > his most soul searching and experimental < record yet, now is a great time to do so. As well as the other great picks from the RA team – Mr. G’s in good company here!

Read more about RA’s albums of the year here:

https://ra.co/features/4293

And dig into Mr. G’s thriling release right here:

https://childhood.bandcamp.com/album/ch006lp-mr-g-pearls-dont-lay-on-the-shore

Blitzcast 018 by Katia Curie

It’s no secret anymore that Vienna’s musical underground is bursting with talent and skilled artists and that many of the city dance music scene’s interesting figures regularly play at Blitz. Katia Curie is one of them. Blitzcast 018 is a great place to start when getting into the Kyiv born selector, who’s also one of the driving forces behind Vienna’s > Sonic Resistance <.

What can you expect? Let’s hear what Katia has to say…

> When selecting the tracks, it was particularly important to me to get the listener into a certain rhythmic hypnosis that is maintained throughout the mix as it changes from one mood to another. I also wanted to show a different, dynamic, groovy side of my selection, which makes this mix different from my others. It’s a vinyl-only mix consisting mainly of progressive house and techno records from the late 90s and early 2000s. At the same time, one of the recorded tracks was recently released on the Kyiv label Tancido, after the full scale war had started. I am totally in love with this one and it has a particularly important aspect for me, considering my Ukrainian origin. <

Make sure to follow her on Soundcloud for more beguiling beats: @katia-curie
and Instagram for live dates and much more:
www.instagram.com/katiacurie/

But now, here’s the music you’ve been waiting for:

Bashkka talks ANIMA night on FR 17/11/23

Our resident Bashkka and her irresistible style of music and DJing is in high demand right now: a short look at her touring schedule proves our resident habibi is more than busy! We’re delighted to present her first curated event ANIMA, taking place at Blitz where Bashkka will appear alongside a thrilling lineup consisting of Ariel Zetina, LYDO, Mama Yha Yha, Peachlyfe, Softchaos and Teecra.

Find out more about ANIMA right here: https://www.blitz.club/program/anima/

We sat down with Bashkka to talk more about her thought’s on and surrounding ANIMA.

Bashkka, tell us more about Anima, the night you curated. What’s your aim, what’s your concept? What has inspired you?

– To amplify my community and to shed not only light, but to actually set the spotlight on their overlooked tales. My curations are rather instinctual than conceptual. I am inspired by queer resistance that fuels the passionate, deeper heartbeat of this scene.

How long have you been planing Anima and how has the concept and approached changed over times? Tell us more about the process!

– I launched this idea back in January! Deep down I’ve gained a whole new level of respect for the all the virtuosos that plan (club-)nights, events, and festivals. It’s been a rollercoaster journey, but it was all worth it. I was able to curate a really brilliant line up that has such communal value and power.

Anima is focussed on artists > beyond the scope mainstream recognition and demographic norms <. Right now, there are a lot of great artists that identify beyond (conservative) demographic norms and push creativity in what we’d consider the underground scene. Where do you see these artists influences on how music is played and created, and how club culture is being approached? Are there any musical and/or local scene, that you believe have been particularly important in shaping the recent development?

– Discussing the evolution of this scene and the trailblazers, it’s impossible to overlook the profound impact of black and brown queer individuals – be it in music, fashion, or art. Their historical and present influence and impact is undeniable. Especially London’s scene but also queer collectives such Filth in Auckland / New Zealand, have inspired and blown me away. If we talk about shaping communities, look no further!

Do you see any influence on the > mainstream < at the moment? And if yes: how does it influence the mainstream, and where is it notable?

– I’m hopeful that the scene’s influence on the mainstream can come without questioning the authenticity and motives behind it. It’s crucial to balance healthy skepticism with optimism. Amidst some questionable stuff, there’s undeniable progress worth acknowledging.

Tell us more about the artists on the bill. What are your personal connections, what inspires you about their musical approaches, how did the numerous back to backs come together? And what can we, or what do you, expect from these collaborations?

– Each artist is a key player in our community, contributing to breaking new ground. Some are friends, others are peers I deeply admire as artists as well as entrepreneurs. Their impact extends beyond local scenes, shaping a creative legacy that resonates far and wide. Every one of them is dripping with talent, serving up something unique and fresh. It’s like a feast of creativity: an exquisite supper where each artist brings a distinct flavor to the table in form of their back to back set contributions.

The last two questions. What’s next for you? What next steps are you planning?

– Loads of new music and collabs. Buzzing with excitement because that’s where I find my solace. Making Music and playing it for people. Plus, I’ve got my sights set on my first tour down under at the beginning of next year. Exciting stuff.

Aside from self promotion, networking, etc – what music has been on your heavy rotation recently?

– Anything Yves Tumor. I’m obsessed!

BLITZCAST 017, Childhood 007 by & interview with ED DAVENPORT

Busy and exciting times for Ed Davenport, whom some of you will also know under his alias Inland.

As Ed Davenport, he released a new EP with a trio of gleaming, house orientated tracks on our very own Muallem‘s Childhood imprint titled > PLACE OF CONNECT PT.1 < and he recorded a new mix for our Blitzcast series, brimming with the estival vibes he’s been spreading at the gigs he played this summer. And now Ed is back for our upcoming Cruise event on Saturday, the 14th of October, for a special back to back with Muallem – a world premiere, too!

We had a couple of questions for the multitalented Brit who’s relocated to Berlin. Dig into his brand new mixcast or his new EP and make sure to catch him this Saturday at Blitz!

More infos on our upcoming Cruise right here: https://www.blitz.club/program/cruise-41/

Order the LP right here:

https://childhood.bandcamp.com/album/ch007-ed-davenport-place-of-connect-pt-1

And dig into BLITZCAST 017 on Soundcloud:

  • Tell us more about how you and David met. How did the release come along?

David booked me to play at Bob Beaman around 2013. The gig went well and after a few hours of sleep I made it to the airport. I sat in a restaurant feeling sleepy but content, but then suddenly broke out in a cold sweat – I’d left my entire DJ fee, in cash, in the hotel safe! I texted David and he took care of it straight away without hesitation – crisis over! I sent him a handful of records from the newly founded Counterchange label to say thanks, if I remember correctly!

Fast forward a few years and we finally met in person at Blitz for a Sweat Lodge agency night. We’d always shared music and since I made this batch of fresh house music over the last 2 years, I had to think of David and his lovely new Childhood label. The inaugural releases were killer so it was my first choice for these tracks. I’m delighted with the communication and label experience!

• You’ve been focussing more on the Inland moniker and its brand of introspective Techno. What’s the reason you’re working on more music under the name Ed Davenport right now? And how have your releases and the success with Inland changed the way you approach music under the Ed Davenport name?

After a long time as a disciple of the harder, darker formations of techno commonly found in Berlin I’ve found myself coming full circle. I used to play and produce a lot of house in the early days and I missed that euphoric positive energy. With the Inland project I was lucky to notch up a lot of hours in DJ booths around the world and I got more confident presenting a wider range of music, especially during long closing sets. That, combined with a more grounded outlook on life as I approach the big four-zero, allowed me to feel more comfortable in my own skin, and in front of crowds. I just love basslines, pumping house grooves and vocals and I wanna share that vibe with loving dancefloors again!

•    Tell us a bit about the production process. Did you try out any new concepts of writing and producing music, did you work with a new set of gear, etc.? Also tell us about the names of the track – what do they symbolize?

Early last year I played at Heideglühen again for the first time since the pandemic. I played 90% vinyl – percussive house, acid and proper deep Detroit vibes – it was amazing. Suddenly everything clicked and I really connected with that sound and way of DJing again (less urgent, letting the records speak) and made a mental note to make some more house records asap. In the summer I went into the studio every day for a couple of weeks straight, turned on the machines and made a new track every day.

I grabbed a load of old CDs and records of all genres, and spent the first hour of each day cutting up some one-shots and abstract loops sent through FX, and then went to work. My studio chain changed regularly over those sessions but all the drums and synths went through my trusty old, slightly buggy, Allen & Heath mix-wizard. I love the sound of that mixer and I kept it pretty simple, a few machines, a few samples… a classic tracky approach without any big gimmicks I guess.

The EP title ‘Place of Connect’ symbolises a new and deeper connection to myself and my family. I’ve been working on shedding some old habits; baggage from my past that wasn’t serving me any more, and putting mental and physical health more in the forefront. To be honest I’ve never felt better so it feels right that this new chapter of new music comes out now.

• You’ve been working on a new Blitzcast mix. Tell us more about the music selection, the process of putting together the mix – what were the driving ideas behind the mix?

This is the vibe I’ve been playing out this summer at house events. It’s a symbiotic mix of old records, new releases, my new tracks, and some edits I’ve done. I love long layering and mixing in key, but it’s also fun to flip the switch and create dramatic pauses or breaks in the flow. I’m still (re)discovering a lot of old 90s and early 00s tribal and progressive house music, from the US, the UK and Belgium in particular, which I find super relevant and inspiring. I got back into ordering old records on Discogs, often recording them and making edits or mastering boosts. I hope you enjoy the mix!

• What can we expect from your back to back with Muallem at our upcoming Cruise? Have you ever performed together? And if yes, when was it and how did it go?

Well, we’ve never played together but I know we have similar tastes in music and it will be a lovely way to celebrate the new record. I guess we’ll both bring a bag of records, some digital rarities too, and just drop in. I can’t wait to be back in that gorgeous booth!

• Your last performance as Ed Davenport at Blitz was long ago – how was the experience?

It was a while back that’s true, I think it was 2017 or 18. I played B2B with Baikal on the Plus floor and we got pretty deep and dark with some chugging tribal-prog and minimalistic techno.

• Last question, aside from self promotion and own projects: what was the last piece of music that really fascinated you (regardless of the format, whether it’s an album, seven-inch, mix, live performance, etc.) and why?

It’s pretty much connected with my current US tribal-house obsession, but the music of Angel Moraes had escaped me in general until quite recently. I knew a few of his bigger tracks but now I’m kind of studying his productions. They are typically super driving, heavy, ‘big studio’ productions and full of details. Check out ‘Time To Get Down’ and you’ll see what I mean. (The Dub is also pure class!)

And this is what CH007 > PLACE OF CONNECT PT.1 < looks and sounds like. Enjoy!

Listen back to 600-Cell b2b Elias’ Techno Set from July 2022

Back in July 2023, our esteemed resident 600-Cell went back to back with his good friend and underestimated local digger Elias – two DJs who let their music and mixes do the talking.

Usually known for his soulful, understated selection of vintage Disco & House, our resident 600-Cell & his companion Elias delivered a stunning Techno set full of beguiling machine funk we don’t want you to miss. Enjoy!

Stay in the loop what 600-Cell has to offer in the future right here:
www.instagram.com/600_cell/

Süddeutsche Zeitung honours Sedef Adasï

Munich’s Süddeutsche Zeitung has honoured our resident habibi Sedef Adasï with a feature on their prestigious Seite 3, shedding a light on her career and the struggles within the club scene. We’re delighted to witness how more and more people are realizing her extraordinary talent – read more about it in German right here and as always, stay tuned because we’ve got many more exciting things planed together with Sedef Adasï!

https://www.sueddeutsche.de/projekte/artikel/politik/sedef-adas-dj-berghain-e593413/

BASHKKA’s 2023 Glastonbury set among RA’s key performances of the festival!

Our residents BASHKKA’s performance at Glastonbury’s Block9 is among Resident Advisor’s key performances of the festival. We’re more than delighted to hear that our resident BAE’s sets get the recognition they deserve. We are very proud of our girl! If you wanna witness her magic live and first hand: she’s playing at Blitz this Friday 30/06, together with Avalon Emerson and Octo Octa for a night of unique dance floor delights!

Read more about her set here:

https://ra.co/features/4195

And more about the party on Friday with Avalon Emerson and Octo Octa here:

Tobias Staab (aka La Staab): New artistic director of Munich’s DANCE festival

Our longtime friend and curator of the Ritournelle Festival Tobias Staab (or perhaps better known under his DJ moniker La Staab among our Blitz crowd) has just recently been appointed as the artistic director of Munich’s DANCE festival, the prestigious event for contemporary dance performance. Just a few weeks ago he presented an installation dubbed > Trans Corporal Formations < at Forum Der Zukunft, right next to Blitz which was accessible during our club nights.

Anyone who has witnessed his performances as a DJ or any of the mind-expanding Ritournelle festivals knows that Tobias Staab knows more than just a few secrets about dance, rhythm and groove but there’s so much more in Tobias Staab’s CV as a dramatic advisor and stage director that made him such a great fit as the artistic director.
Whether it’s his experiences at the Münchner Kammerspiele, the Ruhrtriennale, the Oval Office of Schauspielhaus Bochum or as founder of the Ballet of Difference, he left a mark on every project he touched.

We at Blitz were delighted to hear the news, congratulate our fellow companion, and are happy to share the news with our Blitz crowd. Stay tuned for more mind-bending aesthetic experiences from Tobias Staab and DANCE festival very soon!

Blitzcast 016 : CYRK

Blitzcast 016 comes from Berlin based Electro duo and Childhood associates CYRK, that are known for a thrilling blend of Electro and Techno and spherical textures reminiscent of Italo Disco’s characteristic bliss.
Their Blitzcast travels Disco, House and Acid, while being firmly rooted between the cornerstones of Electro and Detroit-inspried techno.

Embark on a jovial trip filled with sparkling tunes and infectious funk with CYRK!