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!

Our 15th Blitzcast comes from the local native and firm Blitz favourite 600–Cell. The mix proves 600–Cell’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 600–Cell 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 <.

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.

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:

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

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:

https://music.apple.com/de/album/blitzcast-013-dj-spit-dj-mix/1668925781

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.

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!

Our Food Truck is now ready and serving lunch for your daily pleasure. Opening times are from Tuesday – Saturday from 12:00 – 15:00. Thanks to Süddeutsche Zeitung for the lovely review.

Von Franz Kotteder (SZ vom 12.01.21)

Im Innenhof steht dort seit Kurzem der “Blitz Food Truck”, der von Dienstag bis Samstag Mittagsgerichte ohne tierische Zutaten verkauft. Wenn es gut läuft, soll das “Krisenprojekt” auch langfristig bleiben.

Passt eh ganz gut: Schließlich hat eine britische Veganer-Organisation den Januar vor ein paar Jahren zum “Veganuary” umbenannt, um die vegane Ernährungsweise zu fördern, seitdem wird er jedes Jahr von der internationalen Veganergemeinde gefeiert. Und Sandra Forster, umtriebige Gastronomin mit ihren Restaurants und Clubs Blitz, Kismet und Charlie sowie selbst Veganerin, hat just zum Ende der Weihnachtsferien ihren veganen und vegetarischen “Blitz Food Truck” auf den Weg gebracht. Dienstags bis samstags zwischen zwölf und 15 Uhr steht er im Innenhof des Deutschen Museums und versorgt seine Kunden mit veganen (ohne tierische Produkte) und vegetarischen (mit Käse) Burgern und einem täglich wechselnden Mittagsgericht.

“Mir ist der Begriff Imbisswagen eigentlich lieber”, sagt Sandra Forster. “Food Truck”, meint sie, klinge ein bisschen monströs. “Was wir hier machen, ist natürlich schon auch ein Krisenprojekt.” Was will man machen, in Zeiten der Pandemie? Und es hat auch damit zu tun, dass sich die Leitung des Deutschen Museums eigentlich schon immer ein Mittagsrestaurant im Kongresssaal gewünscht hatte – dort, wo Sandra Forster seit 2017 ihren Blitz-Club und ihr vegetarisches und veganes Blitz-Restaurant betreibt.

Mittags aber braucht es Laufkundschaft, und da tut man sich auf der Ludwigsbrücke hart. “Da kommen die Leute eher abends”, sagt Forster, “und halt ganz bewusst zu uns und nicht zufällig.” Abends läuft das Geschäft nach wie vor. Nicht ganz so wie vor der Pandemie, schließlich fehlen die Stunden nach 22 Uhr, die fürs Geschäft wichtig sind. Das Restaurant mittags zu öffnen, wäre aber schon wegen des notwendigen Personalaufwands nicht rentabel.

Daher also der Imbisswagen, direkt vor dem Haupteingang zum Deutschen Museum, und nur mittags. Forster hat den zum “Blitz Burger Truck” umgebauten früheren Postwagen dort geparkt. Es gibt vegane Burger, mit Patties von Beyond Meat, aber auch vegetarisch als Cheeseburger mit Käse. Und jeweils ein täglich wechselndes Mittagsgericht. An diesem Mittwoch gibt es zum Beispiel Süßkartoffel-Erdnusssuppe mit indischem Papadam-Brot, am Donnerstag Tomatensuppe mit Quinoa und “Maiz Frito”, also geröstetem Mais. Falls der Imbiss gut läuft, dann soll er auch nach dem hoffentlich baldigen Ende der Pandemie bleiben.

The restaurant will be closed from today until January 5th. The food truck will be closed from today until January 11th. The club will be closed for the foreseeable future.  

We can’t wait to eat and dance with you again. Our best wishes for the coming year. 

With love,

Blitz

Last year our boy Muallem launched his long overdue label Childhood. Since our doors are still closed since March 2020, he decided to make use of his time and start a musical imprint in order to deliver the finest cuts to be enjoyed as off now as well as on our dancelfoors and beyond once we are able to party again. After releases by DJ Deep and Don Williams, the third record of the label comes in form of the imprints first long player by no one else then Mr G.  Make sure to check this fantastic album, pre orders are up and running via the labels band camp page as well as via the Clone Store (There are still a few copies of the limited coloured vinyl version left.) 

Our girl Sandra talking to Süddeutsche Zeitung about the current state of affairs and more. Find the original article here!

© Süddeutsche Zeitung GmbH, München. Mit freundlicher Genehmigung von Süddeutsche Zeitung Content

Interview: Lea Hampel und Nakissa Salavati

Die Gittertür zu Lokal und Club na- mens Blitz ist verschlossen. Nur ein paar Bierbänke erinnern noch an laue Sommertage, als sich hier auf der Münchner Museumsinsel die Menschen an Drinks und mexikanischen Snacks freu- ten. Chefin Sandra Forster, eine Größe der Münchner Gastronomie- und Clubszene, empfängt in dicker Strickjacke, mit Hund und Smartphone. Mehr braucht sie derzeit nicht zum Arbeiten, denn statt Gäste zu versorgen, muss sie vor allem: das Nichts verwalten und warten.

SZ: Frau Forster, reden wir über Geld. Wir sitzen in Ihrem seit Wochen leeren Restaurant. Wie geht es Ihnen?

Sandra Forster: Lange war ich tapfer, aber jetzt geht es mir an die Nieren. Grundsätz- lich bekommen wir Hilfen, relativ hohe für November und Dezember, die sind jetzt zu- mindest teilweise angekommen. Das Ganze ist aber so kompliziert, dass ich nicht weiß, ob das wirklich meine Kosten deckt, ob noch etwas kommt oder ich etwas zu- rückzahlen muss. Das macht mich so verrückt, weil ich hilflos bin. Ich war immer verantwortlich für alles und kann jetzt gar nichts machen.

Eine Erfahrung von Kontrollverlust.

Ja, total unangenehm. Allein auf öffentli- che Gelder angewiesen zu sein, stresst mich. Das habe ich nie gemacht. Ich habe mich nie arbeitslos gemeldet. Wir persönlich als Betreiber haben übrigens die ganze Zeit keinen Cent bekommen.

Weil Sie sich keine Gehälter auszahlen?

Weil wir nicht angestellt sind. Wir machen sonst Gewinnausschüttungen. Auf die Frage, wie ich meine Miete bezahlen und meine zwei Kinder ernähren soll, erfährt man: Sozialhilfe beantragen. Uff, echt jetzt?

„Zu Hause haben wir geringe Fixkosten. Da lege ich Wert drauf,
weil es frei macht.“

Haben Sie das gemacht?

Nein. Aber für mich ist die Situation traumatisierend. Ich habe fast 30 Jahre in der Branche gearbeitet, das hat mich ausgemacht, ich fühle mich amputiert. Geld war für mich bisher nie so wichtig, immer eher Tauschware, dass ich mir Personal und Ware leisten konnte.

Ihr erster Laden war keine Gastronomie, sondern ein Tattoo-Studio. Sie wa- ren 18, mit welchem Geld macht man das so jung?

Ich habe immer gejobbt, vor der Schule beim Bäcker. Man brauchte nicht viel, ich glaube, wir haben zu zweit je fünftausend Mark investiert.

Warum Piercings und Tattoos?

Das hat sich so ergeben. Als Schülerin habe ich Piercings gemacht und hatte die Idee, mich mit einer Freundin selbständig zu machen.

Wie fanden Ihre Eltern das?

Ganz schrecklich. Die sind froh, dass es seriöser geworden ist.

Jetzt mit Technoclubs!

(lacht) Ihnen ist der Teil mit den Restau- rants auf jeden Fall lieber. Als ich 18 war, hatte ich ein großes Bedürfnis, mich abzu- grenzen. Ich komme aus Pullach, bekanntermaßen eine eher konservative, wohlhabende Gegend. Es war eine Art spätpubertäres Abkoppeln.

Mit welchem Verhältnis zu Geld sind Sie aufgewachsen?
Auf jeden Fall wurde mit nichts verschwenderisch umgegangen, auch nicht mit Geld, obwohl sie es sich hätten leisten können. Aber mir hilft das sehr. Ich habe immer Geld gehabt, weil ich es nicht ausgebe. Ich habe keine Luxusvorstellungen, was ich bräuchte. Zu Hause haben wir geringe Fix- kosten. Da lege ich Wert drauf, weil es frei macht. Ich kann sagen: Diesen Betrag werde ich immer erarbeiten können.

Hat die Sparsamkeit der Eltern genervt?

Ja, es gab auch Streit. In Pullach sind manche Leute nach Südafrika in den Urlaub ge- flogen und wir maximal mit dem Auto an den Gardasee gefahren. Meine Eltern haben dann betont, dass es in Europa auch schön sei. Bis heute, wenn meine Mutter mich nach Weihnachtswünschen fragt und ich sage, bei Tchibo gibt es eine Boom-Box, die könnte ich für meine Wochenend- hütte gebrauchen, sagt sie: Die kostet 100 Euro! Und ich: Sollen wir’s uns teilen? (lacht). Gott sei Dank war die Box auf 70 Euro runtergesetzt, hurra!

Machen Sie das mit Ihren Kindern auch so?

Nein, ich bin großzügig im Schenken, auch meinen Eltern gegenüber. Wenn mir was Cooles einfällt, ist es mir egal, ob das 200 oder 300 Euro kostet. Das bedeutet nicht, dass alle Geschenke so teuer sind.

Ist es schwer, bei Geschenken für Kinder eine Grenze zu ziehen?

Meine sind so klein, sechs und zwei Jahre, die ticken noch nicht materialistisch. Der Größere hat sich 2019 zu Weihnachten eine Krone und einen Käse gewünscht. Ich versuche, seine Wünsche zu erfüllen, weil die so putzig und machbar sind, und hoffe, dass er ein cooler Typ bleibt, der nicht dauernd Markenklamotten will.

Würde er die bekommen?

Nein, das habe ich von meinen Eltern gelernt. Meine Kinder müssen für Geld arbeiten. Nur dann hat man einen vernünftigen Bezug dazu. Ich habe Freunde aus reichen Familien, für die ist alles nichts wert.

Sie haben mal gesagt, dass man als Chefin die Drecksarbeit machen muss. Das könnten Sie Ihren Kindern abgeben. 

Genau, Toiletten entstopfen, Scherben zusammenkehren, putzen…

Ist trotz solcher Aufgaben die Verantwortung das Tolle daran, selbständig und Chefin zu sein?

Ja. Ich kenn es auch nicht anders. Mein Vater war immer selbständig, irgendwo hingehen und bezahlt werden und sich Urlaub nehmen, das gab es nie. Für mich stand im Vordergrund, Ideen so zu verwirklichen, wie ich möchte. Dafür hätte es nicht die Gastronomie sein müssen, aber es funktio- niert hier gut, weil sich alles verändert, Angebot und Zielgruppe. Das kann man ewig machen, siehe Charles Schumann. Wichtig war, es selber machen zu können.

Weil einem niemand reinredet.

Ja. Obwohl ich ja keinen Laden alleine mache, sondern Partner habe. Und dann reden einem andere rein. Das Kreisverwaltungsreferat, das Finanzamt, die Agentur für Arbeit, die Gäste…

Gäste!

Ja, die wissen immer, was man alles anders machen sollte.

Das frage ich mich auch.

Kommt es da auf das Milieu an?

Na ja, in Clubs passieren schon krassere Sachen. Wenn Menschen viel getrunken haben, gibt es schon manche, die das Klo nicht finden.

Oh.

Habe ich zwei Mal erlebt. Kontrollverlust halt.

Aber auch sehr kontrollierte Gäste benehmen sich daneben?

Ja, das verleidet’s einem manchmal. Am meisten hasse ich, wenn Gäste das Personal drangsalieren.

In teuren Restaurants hat man manchmal das Gefühl, Gäste glauben, sie hätten sich das Recht gekauft, blöd zu sein. Darf man also nicht zu teuer werden? 

Was ist zu teuer? Manche Gäste glauben zu wissen, was ein Essen kosten darf, weil sie mal Nudeln mit Tomatensauce gemacht haben.

Wie legt man denn Restaurantpreise fest?

Die klassische Kalkulation, den Waren- wert mal 3,5, habe ich nie angewandt. Wir schauen immer, was ein Gast dalassen soll. Zum Beispiel ist eine zu große, günstige Portion ein Problem, dann bestellen die Leute immer das und nie Nachtisch. Und dann trinkt der Gast nur eine Weinschorle, verbringt zwei Stunden am Tisch und gibt 15 Euro aus. Das rechnet sich für uns nicht. Man braucht im Restaurant ungefähr einen Pro-Kopf-Umsatz von 30 Euro. Das ist bei vegetarischem Essen schwieriger, weil die Leute fragen, warum das ohne Fleisch so teuer ist. Dabei sind das Teure nicht die Waren, sondern Personal und Energie. Ein Steak wirfst du in die Pfanne, dafür braucht man wenig Personaleinsatz. Aber für ein Gemüsecurry brauchst du Leute, die alles putzen und schneiden. 

Regulieren Sie mit den Preisen auch, wer kommt?

Kann man, nicht nur über Preise, sondern auch über die Location oder die Einrichtung. Aber wir bauen unsere Karten ab- sichtlich demokratisch auf, weil wir es cool finden, wenn eine breite Masse kommt. (Steht auf, holt eine Blitz-Karte, zeigt drauf) Hier kostet die Quesadilla 15 Euro, und da- mit bist du satt. Selbst wenn du was trinkst, kannst du mit 20 Euro nach Hause gehen. Wenn du das nicht kannst, geht es halt nicht.

Man sagt ja immer, Gastronomen verdienen an den Getränken. Gilt das auch für Wasser oder nur für Alkohol?

Vor allem für Alkohol. Eine Flasche Wasser kostet auch mal 6,50 Euro, weil der Gast den Platz besetzt, und wir kein Verlustge- schäft machen können. Woran man nicht mehr gut verdient, sind Bier und Softgetränke. Und für einen Longdrink zahlt man 7,50 Euro, das hat man vor 15 Jahren schon bezahlt. Innerhalb dieser Zeit ist aber eine irre Preiserhöhung im Einkauf dazugekommen. Die Betriebskosten werden immer höher, die Brauerei erhöht die Preise jedes Jahr, die Getränkehändler. Ich habe vor zwanzig Jahren mehr verdient als heute. Ein Gin Tonic müsste 20 Euro kosten. Das macht nur keiner in Deutschland. Hier herrscht nicht die Bereitschaft, für Lebensmittel und Getränke mehr auszugeben. Daher wäre es ein Hoffnungsschimmer für uns, wenn die derzeit niedrigere Mehrwertsteuer bleibt.

Sie haben schon vor der Pandemie gesagt, Speisegastronomie sei nur noch Liebhaberei. Warum machen Sie dann neue Läden auf, wie bald am Gasteig? 

Im Fall des neuen Konzepts ist die Überlegung: Die Charlie Bar kann ich wahrscheinlich bis zum Hochsommer nicht öffnen – da ist eine Sommerterrasse mit hauptsächlich Getränken und etwas Essen eine gute Übergangslösung. Und in anderen Fällen ist ein Restaurant einfach ein guter Türöffner. Hier beim Blitz war es so, dass ein Vermieter wie das Deutsche Museum nicht einfach nur einen Club wollte, sondern eine Gastronomie mit Garten. Für die war das schon verrückt, dass es hier kein Fleisch gibt.

„Den Glamourfaktor sehe ich nicht mehr, weil ich die brutal anstrengende Rückseite kenne.“

Ab wann kann man sagen: Ein Laden läuft?

Drei Jahre, bis die Kinderkrankheiten weg sind. Das sind so banale Dinge wie die richtigen Laufwege – weil sie unpraktisch sind oder man sich dauernd kreuzt. Aber auch, bis genug Leute mitgekriegt haben, dass es den Laden gibt, du das richtige Personal hast.

Sie sind selbst gelernte Köchin, wie viel kontrollieren Sie da noch?

Ich bin abends schon viel da. Gerade in den jungen Läden. Einfach, weil ich gerne Gastgeberin bin. Aber wie erwähnt auch als Kloentstopferin. Und natürlich helfe ich, wenn nötig, in der Küche. Da setzen mich die Kollegen gern zum Spülen oder Kartoffelschälen ein.

Gastronomie hat trotzdem immer auch einen Glamourfaktor, es ist cool, hinter die Bar zu dürfen. Haben Sie diese Faszination noch?

Den Glamourfaktor sehe ich nicht mehr, weil ich die brutal anstrengende Rückseite kenne. Aber man hat ja die totalen Glücksmomente.

Wann?

Bisschen plakativ, aber: Du stehst hinterm DJ-Pult im Club, ein Track geht los, du hast die richtige Menge Wodka intus, um überwältigt zu sein, und der Raum bebt vor Euphorie. Und dann weißt du: Dafür machst du das. Dann vergisst du, dass es grad vorher ’ne Schlägerei vor der Tür oder Drogenfahndung auf der Toilette gab.

Wenn es drei Jahre dauert, bis ein Laden so läuft – ist das bei Ihnen nun weniger? Beim Blitz standen die Menschen gleich Schlange.

Ich muss nicht mehr darauf hinarbeiten, dass die Leute kommen. Aber ich muss trotzdem drauf hinarbeiten, dass der Laden läuft – und halt abliefern. Wenn man eine gewisse Bekanntheit hat, kommen manche Leute auch, um sagen zu können, dass sie einen Scheißabend hatten.

In Ihren Anfangsjahren wurden Sie weniger ernst genommen.

Da wurde mir beim Brauereitermin mit meinem Partner ’ne Cola angeboten, weil die dachten, ich wäre ein Kind. Das passiert mir zum Glück nicht mehr. Dafür bin ich jetzt zu alt.

Wie kam es überhaupt, dass Sie vom Piercingstudio in die Gastronomie gewechselt sind?

Ich kannte damals viele Gastronomen und hatte so ’ne Idee, was für eine Bar ich selbst cool fände.

Die haben Sie nach drei Jahren zugesperrt. War das hart?

Ich weiß noch, ich war sehr jung, und das hat richtig wehgetan. Wie Liebeskummer. 

Haben Sie daraus gelernt?

Ja. Ich glaube, es war gut, das so zu erleben. Meine ganze Gastronomiegeschichte ist ja auch von Fehlschlägen getrieben. Aber in der Form habe ich das zum Glück nicht mehr erlebt. Mit dem heutigen Wissen hätte ich vermutlich noch ein wenig durchgehalten.

This Saturday, October 31st, Blitz continues its Radio 80000 Take Over series with 600-cell, Chris Cruse, Dee Diggs, JASSS, Muallem, Olive T, Partok, Ploy and XDB. All mixes will be streamed via www.radio80k.de from 3pm until midnight.

Cosmic Transmission is the name of the second album by the Zenker Brothers, released on their imprint Ilian Tape yesterday. The eleven track LP delivers a deep journey into sound, which is once more featuring their fine hands for floating and forceful elements. Have a listen and enjoy drifting away!