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:

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:

Order the LP right here:

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:

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!

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:

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!

Blitzcast 015 & interview with 600-Cell.

Our 15th Blitzcast comes from the local native and firm Blitz favourite 600Cell. The mix proves 600Cell’s capabilities as an acquired selector and, as always, spans a wide range of genres that showcase his unique approach to percussive drums & grooves as well as the charismatic understatement that we love about him.

Besides our new Blitzcast, we took some time to uncover his musical past, his approach and perspective on current developments in the contemporary dance music scene as well as his favourite moments at Blitz – find out more about what makes 600Cell so special in our interview and Blitzcast 015.

And catch him live at Blitz, playing alongside Jayda G and Young Marco on Friday, the 24th of March!

  • Tell us more about your Blitzcast mix: how do you feel and think about it, did you follow a specific approach when creating it?

My main idea for this mix was to mostly use tracks I have played at Blitz before and that show what you might expect when you hear me DJ there, no matter the time slot. Additionally, I tried to showcase tracks from a wider range of genres like Disco, Acid House, New Beat & Italo-Disco that are all connected by a certain raw and drum-heavy energy.

  • What has your musical journey been: what got you into music first, and then into dance music? What moments or experiences shaped your aesthetic and approach?

I started my first DJing attempts around the age of 15, when my brother introduced me to it and borrowed me his DJ controller. In the beginning I was mostly gravitating towards UK-heavy, broken beat sounds, like Post-Dubstep, that were booming back then. After years of digging and musical research I started to listen to Disco and House more frequently and became fascinated by it. I remember seeing Omar S opening his Sunday evening set at Panorama Bar in 2014 with the instrumental version of  Zinnon’s > What’s Your Name < and being completely blown away by his raw mixing. Since then I was pretty much hooked on the whole sound aesthetic of Chicago & Detroit DJs.
For the next few years, I mostly played all-nighters at hybrid locations that featured a dancefloor but no proper club soundsystem. During these often more than 6 hour long sets I experimented with all different types of energy levels and sounds ranging from German NDW to Brazilian Boogie to Chicago & Detroit House. Additionally, I started to play biweekly radio shows at Munich-based Radio 80000. Both of these experiences helped me to refine my technical skills and grow my musical collection.
Besides mixing everything between Disco & House, I never really lost my passion for broken beats. Although I don’t these styles as often as I used to, I still enjoy mixing all types of UK orientated Bass, Breaks and Electro-styles (like at Blitz’s recent Kehraus party).

  • In a time, where most (young) DJs seem to play harder and faster than before, you’re among the rare DJs that actually take a bit of speed out of it, and play music that’s mostly from past decades, in most of the time even before the Mid 1990s. Tell us more about why you decide to play like that and how it what it’s like to navigate to the current scene with such an approach, that in many ways is contrary to what’s hip and trendy right now (namely trance and progressive house). Is it solely a musical decision? Or do you see a sociocultural, maybe even political importance behind it too, that you believe is important about it?

To be honest, my choice to play a lot of music that was recorded prior to the Mid 1990s is more an aesthetical one than a sociocultural or political one. It’s just what I enjoy most. 
Especially the raw energy that comes from pioneering artists of the past that still influences the sounds we listen to today have always fascinated me.
For example I was completely hooked when reading about the first NYC dance floors in Tim Lawrence’s book > Love Saves the Day < and how DJs like Larry Levan used to mix early Hip-Hop, New Wave, Disco and even added train or airplane sound effects on top of their transitions. I feel like many of these early dance music tracks are simply timeless and still sound futuristic after 30-40 years. 

  • We had a chat about the effects of galore covid-lockdown-streaming at one of your recent sets at Blitz – how do you feel about the current climate in electronic dance music and club culture? Where do you believe is your contribution to the scene, whether it’s a DJ or a part of the Radio 80000 community?

As somewhat of an external observer, I think one of the biggest changes in the electronic music scene in recent years has been the enormously increasing importance of visual aid, whether it’s in the form of Instagram posts or DJ sets in front of cameras. While I understand that it can be interesting to watch the mixing technique of your favourite DJs from anywhere in the world (s/o to the early days of Boiler Room), I feel like the increased emphasis on visuals sometimes leads to people rather wanting to see a “show” of their favourite DJs than listening to musical selections that they have never heard before.
I personally try not to put too much thought into the > performing < part of DJing. I am simply playing music that I love and want to share with others. Therefore, I am really thankful to be given this regular opportunity at Blitz to showcase dance music that might not necessarily end up on your favourite social media app.

  • Tell us more about how you feel about your regular gigs at Blitz: How have they changed and shaped your style and approach, what highlights and challenges do you remember, special encounters, etc.?

Although my first time playing at Blitz was already in late 2017 together with the Ruffhouse crew, it took some time until I got booked as a solo DJ and not as part of a collective.
My first > proper < solo Blitz gig was opening the Plus Floor for Gerd Janson in December 2019 shortly before the pandemic started. I still remember that I was super nervous and meticulously prepared several playlists for that night. Then during the first Covid break David Muallem invited me to record two mixes for two Blitz takeovers on Radio 80000. After the first break ended, I opened for Gerd Janson a second time in November 2021, this time on the main floor. Then obviously another Covid induced break prevented Blitz from opening. When this second break ended in February 2022 I was trusted with the opening set for the reopening party on the main floor. Since then, I have played pretty much on a  monthly basis on one of the two floors and loved every second of it. I am really grateful for this opportunity to regularly play in completely different settings on this amazing sound system.
Therefore, it’s hard to mention only one highlight, but one of my favourite moments was definitely playing a 4 hour closing set after one of my personal heroes Moodyman on the main floor. During these hours, I jumped through all kinds of House and Disco sounds that I always wanted to hear on that soundsystem, like Venus Dodson’s > Shining < or Voices’ > Can You See The Light <. I still remember how I left the club at 8am with the biggest smile on my face.

  • Your next set at Blitz is opening up the night with Young Marco and Jayda G. What are your thoughts on that evening? What can we expect? Do you have an approach you follow, when preparing for such an evening?

I’m already really looking forward to that night, as I have been following both artists for a long time.
My preparation starts with learning the exact setting that I will play in. As a local DJ you will most likely open the dancefloor for international DJs. Although it can be really tricky and requires a lot of preparation to set the right mood for the night, I really enjoy these slots. A couple of days before the night, I usually group my recent digs together with old favourites by mood and energy level. When these playlists are done and my records are packed, I tend to roughly sort them by BPM in order to be able to gradually increase the tempo. During my warm-up sets I focus on not playing too intense too quick, as I don’t want to > wear out < the crowd, but rather set the right mood for the artists after me. Although I have no idea what I will play exactly, one thing is for sure: You can definitely expect a lot of House.

  • Last question, aside from self-promotion or your personal network: what was the last piece of music, no matter whether it’s an album, EP, track, live performance, a DJ mix etc that amazed you?

It’s really difficult to pick only one thing here. 
I’ve been hooked to > The Devil Made Me Buy…< by I.M.T. again lately. I really love the dark and almost haunting sound of the vocal, especially after discovering that it has been sampled from the amazing NYC Ballroom documentation > Paris Is Burning <.
Next to dance music, I listen to a lot of calmer and slower music when I am home alone. One album that I am currently rediscovering after it brought me through the first months of the pandemic is > Sublimity < by the German band I.A.O.. I especially like the tracks > Green Earth < & > Nothing Above Us <.

Bashkka: Blitzcast 014, EP > MAKTUB < & interview.

Our resident habibi Bashkka is making waves all over Europe, dishing out muscular funk and queer club bangers and working on making nightlife more diverse and a safer space for LGBTQIA+ people, reminding people of dance music’s origins that’s rooted in queer POC, in Munich and everywhere else she commands the decks – and crowds.

We’re delighted to celebrate the release of her first, debut solo EP called > Maktub < on our good friend Nene H’s label UMAY and to release our new Blitzcast 014 mix by Bashkka too, that showcases a more trippier and tender side of Bashkka.

Listen and buy the EP right here:

We sat down for a talk with Bashkka to find out what shaped the making of her new EP, her residency at Blitz and the politics of dance music. We highly recommend to open up her latest EP or Blitzcast mix before digging into the interview and turn it right up to 11.

  • There’s a lot of personal, social and cultural influences that shape your recent EP > Maktub <. You describe it as > a love letter to myself, my heritage and my community. < 
    Tell us more about these influences and how they shaped the music?

Living a decade of my life in New York truly shaped me. Being introduced to some of the most real and beautiful music, forms of culture and individuals of the NY (Ballroom) scene and sharing similar personal stories, struggles and values, it offered me a different kind of family than the traditional Turkish one I grew up in. I‘d say that this dichotomy has been equally important in shaping my identity as an artist as well as a person. The artwork of the EP was created in collaboration with Copenhagen based Noah Umur Kanber and compliments my influences impressively, taking inspiration from Sumerian mythology and the non-binary goddesses Ishtar and her Sister Ereshkigal which can be seen in the motif. It’s these two figures that, in reflecting on my inner conflicts and regarding my personal history,I found so interesting; Ishtar as the goddess of love, war and sexuality and Ereshkigal, representing the underworld, the rejected and the doomed. 

When the opportunity of releasing on UMAY, my dear sister and friend Nene H’s new labels arose, it was a no-brainer for me to release my first piece of music there. The aim of UMAY is to build bridges and empower local culture, granting visibility for geographically underrepresented regions and their artists with a strong focus on South, Western Asian and African artists as well as QTBIPOC. It focuses on establishing trustful and long-lasting relationships with its community, in an attempt to defy the challenges emerging artists come across in the modern music business. While being completely transparent and non-profit, it aims to stand aside in trustful partnerships with its artists, instead of working in hierarchy.

  • Tell us, our readers, more about your residency at Blitz: what’s your emotional, personal and musical connection to the club and crowd, how does it shape your music? How has this developed over the course of the last year?

It’s been a very empowering experience for me and I’m thankful about it. To be given such a platform in my hometown where I have total artistic freedom, cultivating chosen family values with everyone involved there and creating memories and moments in an institution where communal spirit is of most importance is incredibly special. Also, Blitz has one of the best, state-of-the-art sound systems and booths in the world which made me not only a better DJ but a better listener, too. I feel very lucky.

  • How has the creation process of your upcoming EP shaped the way you approach music, and how have your DJ sets and gigging experiences shaped your EP? We think the tracks on your upcoming EP reflect the sound and style you play as a DJ well: self-confident and muscular, driving and aphrodisiac beats with a decidedly powerful-female, potent-character.

I know that’s right! I take it hahaha. Thank you 🙂 Music to me is a rather unexplainable thing. It’s something bigger than me and all of us that just takes over AND LITERALLY CONTROLS ME.
Knowing how life changing, spiritual and healing dance music and the dancefloor has been to me, I can only hope my music, its delivery and presence can be as powerful to others, too.

  • In a recent interview, you stated you’d rather stay in a city like Munich that needs more > work < in terms of LGBTQI+ and trans visibility. How do you view the current state and how is it developing?

We’ve already come a long way in terms of representation and visibility but the work will and should never stop. No matter where! Especially, given the current state of the world, it is more crucial than ever to be even more determined about ourselves and those who committed themselves as our allies. Munich has a flourishing subculture and I believe that this generation and the upcoming generation are truly here for the shits! They do NOT fuck around and I am here for that! Munich’s underground offers queer and marginalized groups more space and representation than one might expect. I am a prime example.

  • I can see a pattern of actively working on and with what’s around you. You work with your heritage, such as staying in Munich and working on the scene and queer and trans visibility here. Instead of moving to a city where this is more established, you take inspirational cues from your Turkish heritage, the New York Ballroom scene [where Bashkka lived for ten years] that shaped your personality and music. Your own voice. Would you describe this habit, these tendencies as a political act? If yes: Why is it important to label this act as a political process, to reflect on one’s own heritage(s) and to deal with it in a creative way?

Let me put it to y’all like this: I am a SWANA [Southwest Asian and North African / De-colonial term for Middle Eastern] trans woman and creative vessel of a genre of music that was innovated by queer Black & Brown Folk. I am walking politics baby 🙂 As simple as that.

  • Working with personal heritage(s) is often viewed as a politically conservative mindset. What’s your stance on this perception?

A marginalized individual standing up for the marginalized collective, that is my story, truth and my duty.  Whatever terminology or interpretation people with different views would want to give my journey and beliefs  – it is and will be their opinion even if mine could challenge theirs. And that’s perfectly ok. Generally I’m not interested in pleasing everyone nor do I seek any approval.

  • We both agree that club culture is an essential factor for social change and progress (thus, crafting safer spaces LGTBQI+ and especially trans culture and personalities and therefore, step by step making society safer for them): how can we reinforce these developments?

Just increasing attention or creating space for acceptance is not enough for me. The social constructs of the heteronormative society, which still discriminates and excludes us, must reach a point of coexistence. There’s no room for questioning or negotiating this. There’s absolutely no denying the legacy and influence of queerness in club culture and dance music. History has shown that, and the future will continue to do so. 
Unfortunately, structures like colonialism and male power play still cloud Techno and House music and venues which is unbelievably upsetting to me. Even in 2023, equality for queer and QTBIPOC and FLINTA Artist is far from where it should be. The goal is to create more safer spaces, ensure equal representation of female, queer and BIPoC DJs in club and festival line-ups, and no longer negotiate their fees below those of white CisHet business techno men and women. Unfortunately, nepotism and eurocentrism in club culture is still a big reality. But we gone fuck shit up. Watch!

  • Especially in politically conservative regions such as Bavaria: can it be enough to approach this change and progress from its metropolis and cultural hotspots alone?

It is certainly not enough, but it is one way to form, shake up and intimidate the systematic forces. Also, I am challenging the City of Munich or indeed any other city to have a Night Mayor that comes from within and therefore represents and understands our culture. I want to see people like us in these positions!

  • Maktub is out on Umay, Nene H’s new label. We’re curious to hear more about your personal connection but especially about your musical connection. What musical and aesthetical values do you two share?

Apart from the deeply rooted connection and sisterhood we have on a personal level, we both come from from similar upbringings and have similar backgrounds, and personal stories. We are both real, passionate musicians and love creating. Nene is a classically trained and impressive pianist, and I am a singer and composer, who has written for other artists and started my musical journey in the depths of the studios of this world.

  • What are your next steps in music, life and activism? Anything we can be excited about?

We are currently working on a video for one of my singles, that also appears on the EP, and which will be out soon. A remixed special edition vinyl re-release of my EP > Maktub < will also drop this summer. I am also very excited to be one of the first residents at Blitz to curate my own nights that will be a very powerful message of activism in itself because of the Line Ups and Programme that I am imagining and planning.

  • Last question, aside from self-promotion or your personal network: what was the last piece of music, no matter whether it’s an album, EP, track, live performance, a DJ mix etc that amazed you?

Kelela. Her latest album called Raven is mind-blowing. One of those rare artists that wowed me in a way only personalities such as Aaliyah, Solange or an Arca, do.

New Mr. G album > PEARLS DON’T LAY ON THE SHORE < out late March on Childhood

This is another piece to my musical puzzle.
After “The Forced…” album, I still felt there was further I could go in…
So again, with David’s support, we ended up here…what a place!
Never stops amazing, what happens while making music from the soul.
This album is dedicated to my amazing Mum Sylvia (all I am)!“

…is what Mr. G says about his upcoming record > PEARLS DON’T LAY ON THE SHORE <.

Our very own Muallem has been churning out records via his Childhood label since the start of the pandemic, with releases from the likes of DJ Deep, Don Williams, CYRK and Mr. G – who’s now releasing his 3rd record on our home label. Colin McBean has carved out a very personal niche within the Tech-House bubble, analogue and frugal, with dub-indebted baselines and atmospherics. But above all: uncompromising.

With David Muallem and Childhood’s support, Mr. G continues to dig even deeper into the depths of the enigmatic edge of his musical microcosm, nearly even experimental and cinematic in its abstraction, yet reflective and emotional in its direction. His new tracks, more than ever, shine with cosmic delights, mysticism and well-placed, minimalistic grooves, all while retaining the organic, earthy foundation we love about Mr. G.

> Pearls Don’t Lay On The Shore < will be released physically as 2 x 12″ vinyl LP – each single copy coming in a unique coloured pressing – on March 27th 2023, followed by the digital release on March 31st 2023.

Preorder the new LP via Childhood on Bandcamp right here and get a sneak preview of what’s happening:

DJ Spit: Blitzcast 013, Explorers 10/02 & interview.

Explorers is the title of the new format from our good friend and simply stunning Paul Krause aka DJ Spit, aimed at open-minded and contemporary audiences who are ready to embrace and discover its motto of > genre-fluidity <.

DJ Spit himself, undoubtably one of Germany’s current dance music shooting stars, is an avid promoter of genre-defying mixes and selections with a focus on high-energy bass-music hybrids that recalibrates the perception of what you’d call > Rave < through styles like Drill, Drum&Bass, Ghetto House and much more. Dashing through myriads of genres and styles and different forms of musical abstraction, DJ Spit makes big pop-gestures and experimental polyrhythms seem like close relatives in the blink of an eye.

It’s not hard to see why DJ Spit is one of the scene’s most in demand party-starters! And the rendition of Explorers at Blitz on Friday 10/02 could hardly be more exciting, with a thrilling array of acclaimed DJs sharing decidedly modern and multifaceted perspectives on club music, such as Bjarki, I. Jordan, rosi96 and SHERELLE.

For the special occasion, we’re delighted to present the upcoming Blitzcast 013 from DJ Spit himself, just in time to give you a glimpse of what to expect from his upcoming set at Blitz.

And, the very best of all: you’ll be able to see and hear a lot more of DJ Spit and his irresistible selections at Blitz this year!

Listen to it here via Apple Music or on our Soundcloud page:

We sat down for a chat with DJ Spit to talk about his motivation and concept behind Explorers, his connection to Blitz and all the amazing artists he chose for the upcoming party.

What makes Explorers & Blitz such a fitting match? What excites you about bringing the series to Blitz & to Munich?

From the first day on, everything just fitted together well: the people, the mindset… The fact that I was personally allowed to play there in various contexts and line-ups and that there were no limits to my creativity, made it clear to me how much the club, but especially how much the audience, wants to see new things. Real friendships have developed, and to represent Explorers, its idea and it’s sense of community feeling in probably one of the best clubs, is simply phenomenal.

Programming: Tell us more about the artists on the line-up tonight. What excites you about the fellow DJs? How do you know them, and what bond(s) do you share? What are the reasons you chose to go for these artists for the upcoming Explorers x Blitz?

It is important to note that we only book people that we’re big fans of, on a musical and a personal level. When Sherelle played one of the best drops in Boiler Room history three years ago at the > LDN: Bass & Percs special < and she became known to a wider European audience, I just knew something big was coming. We’ve had the honour to witness her and her performances a few times since then, and she simply delivers what she promises. A lot has changed with this set. 
Many people can play fast, but no one does it like she does. So when we heard that she was playing a mini tour with I. Jordan, I knew we had to make it happen! Their synergy is world-class and their b2b sets, which on a musical level cover a lot of power club music-related ground, is perfectly suited for our Explorers night at the Blitz. 

Rosi96 is just fresh. Her monthly show on Munich’s Radio80000 showcases a rare musical variety, that only few other selectors and performances can pull off. Everyone one of her sets has amazed me from the first second on. I didn’t have to think twice.

We want to tighten the reins in a completely different way towards the end, and I can’t imagine a better closing partner for this than Bjarki. Although we both come from different musical directions, we both share a great love for musical details and the slightly weirder sounds.

• What can we expect from your back to back with Bjarki? Is it your first joint set, or do you already share a history of memorable performances? Do you share similar passions and mindsets, that connect the two of you?

This b2b will be our official premiere! Bjarki is, for all the right reasons, considered to be one of the most innovative artists and label owners in Techno and has recently become a new friend of mine. We had a spontaneous b2b a few months ago and realised we gel together really well. We want to explore more of this exciting connection as we complement each other greatly.

• What do you think about the status quo of Explorers driving conceptual idea of > genre fluidity < in Germany, especially when you compare the current state of affairs on an international level? Do you feel a cultural necessity & need to promote this concept in Germany stretching beyond hosting and curating a great party? And if yes, why is it so?

There‘s genre-fluid and there really is genre-fluid: it’s not the same. 
I really appreciated it when, a few years ago, the bigger festival stages and clubs finally started to play more diverse styles than the usual House and Techno grooves, but personally, to me that often felt like pure marketing to keep up with the times. 

For me, a DJ has to be able to surprise and find his trademark sound in almost any genre. 
When you make a living presenting music to an audience, it’s about doing your homework and filling the time you have during the week with finding music that most people don’t have time for. In the end we all like similar music, but to keep developing the current sound, that’s what it’s all about. I want to approach the Explorers events with open eyes and especially open ears. It’s wonderful to see how much the intersections between the different genres are becoming more and more visible, and how German clubs are opening up more and more to styles beyond the House and Techno universe. It’s still a long process, but I’m motivated and I’m sure we have the right crowd for what we’re trying to do at Blitz.

• How has the idea and concept changed and evolved in Germany, the German scene and international scenes, especially compared to countries like the UK (where the idea still seems to be a lot more present)? How do feel about the developments in your home base Berlin and in Munich?

I think a lot has changed since the pandemic and our music is, in most cases, not music to soundtrack a 48-hour rave. This is a pity in some cases, but it is helpful for us and our project, because right now, I believe it’s more about quality than quantity. It’s no secret how much I follow the UK-scene but my heart still belongs to the German clubs and I know about the potential that’s in there, for of all of us, no matter what styles we like. It’s up to us to take the next step musically and to think out of the box.

• Explorers aims to promote local talent and intercultural exchange. What do you expect from rosi96’s set, and how can Explorers contribute to fostering local talent and intercultural exchange beyond select events and parties? 

We will push local talent at each of our events. I don’t like it when people come to a city solely with their own crew and don’t connect with what’s going on locally. In this case it was very easy because I already knew and had heard rosi96, but also in the future we will be keeping in close contact with the local scenes to integrate FLINTA+ DJs and crews in our concept that we share a musical connection with.

• What does the future hold for Explorers? What are your plans? Are there specific ideas or concepts you want to try out, artists to invite, places to take the event to?

We’re working on a total of seven events right now, with club shows, festival stages and workshops. I can only say that it will be siiiick.

Now for the last question. Aside from self-promotion, Blitz, Explorers or Rascals: what was the last piece of music, whether it’s a tune, an album, a party or a live performance that blew your mind?

Yeah, last week: Batu and Ok Williams b2b Peach at Nachtiville. I haven’t danced so extensively for a very, very long time. Three absolute killer DJs on the decks.

Bashkka’s debut EP > Maktub < out Feb 15 on Nene H's new imprint > UMAY <

It’s no surprise our resident habibi Bashkka and our good friend and regular guest Nene H are very good friends. Now they’re joining forces! 

Out on February 15, > Maktub < marks Bashkka’s debut solo-EP and is filled with queer club bangers and at the same time kicks off Nene H’s new label UMAY, a non-profit orientated label aiming at promoting artists and music from underrepresented backgrounds. In can be read as Nene H’s reactions and experiences in the music industry, and it’s model aims to challenge many of the practices and standards of today’s music industry, by trying to build long-lasting collaborations with the artists, a fair and transparent share of revenue with the artists. 

> Serving cvnty trax while elevating artists < really says it all and we’re exciting about that’s about to happen in the future. We like! 

But first and foremost: we’re excited about Bashkka’s debut EP, a stunning, acoustic love letter towards her defining influences, that’s her Turkish heritage and the queer community. And more of those potent and sensual, driving beats that our very own Bashkka is known for!

Pre-order the goods right here on Bandcamp, right now!