As much as dance and club culture is about music, dancing and community, we need people and platforms to reflect and debate upon its values, up-and-coming artists and their output as well as upon all the joys and dangers surrounding the current dynamics of its ongoing changes. As German magazine and publication GROOVE puts it: > We have to talk. <
GROOVE has been one of electronic dance music’s essential tastemakers and a central platform for German-speaking discourse on the music scene and club world. It goes without saying that we’re avid readers of their work. Launched in 1989, it’s one of the world’s longest-running dance music magazines. However, its former publishing house has given up on the publication. Now, a large group of (former) contributors are striving to go independent, but GROOVE needs your help. To survive, the newly founded community-based collective called > Verein für Technojournalismus < requires your support in the form of at least 500 memberships.
Find out more and support the campaign to save GROOVE right here:GROOVE ON!
Our 21stBlitzcast features Vienna-based selector Sumi, a key member of our friends from the Lighthouse Festival crew. He’ll be handling the closing set with the infamous LHFsquad, alongside our resident vince and FelixRupprecht, guiding the Unchained crowd into the early Monday morning hours!
We’re delighted to present Blitzcast 021 just in time for our extensive, 32hoursUnchainedparty!
Listen to Sumi‘s set and find out more about his inspiration, his thoughts on Unchained and about some of his funniest moments at Blitz.
And don’t miss the chance to get a hold of one of the last Unchained festival tickets RIGHT HERE,starting Saturday 10/08 18:00!
What were you thinking, what inspired you for Blitzcast 021? This is actually my first “deliberately” recorded mix in about 10 years! I recorded it in Vienna at Club PRST, where I used to do the booking with Leo. I was inspired by mixes that aren’t consistently “peaky” but also dial things back a bit. I also didn’t want to mix too many styles, so I thought I’d make a mix with what I do best: playing House! In all its facets!
It’s a one-take mix: the result may not be “perfect” or 100% what I had initially envisioned, but I’m satisfied with what happened during the mix. That makes such mixes so exciting to me: One of the biggest motivators was that David Muallem asked me in South Africa three years ago if I’d like to do a Blitzcast for him. So I was, of course, thrilled when he thought the mix was cool! :)) The selection is mostly vinyl, and the range spans from 1995 to today.
You’re playing our Unchained Festival this weekend: what are you most excited about? I’m incredibly proud of the whole team for trying to establish such an exciting format! The vibe in Munich, especially on Sunday, is truly unique. It’s also simply breathtaking to see the venue in all its glory! Unfortunately, I arrive on Sunday and have tears in my eyes because I’m going to miss the spectacular program on Saturday!
What can people expect from your set? It fills me with joy every time I get to play music with one of my best friends and go through all kinds of styles. I can’t imagine any better B2B partners (except one other person 😉 ), and I think the guests feel that energy too. At gigs like these, there are no egos. 🙂 In these B2B2Bs, every guest gets their money’s worth!
Your funniest Blitz memory as a DJ?
When I was on my way to my first Blitz gig (about 6 years ago), my MacBook with all my music broke. When we arrived at the soundcheck, it turned out that the USB stick wasn’t working either. I had only 30 minutes left until the gig. Then, I quickly went with my girlfriend to her friend’s place to quickly put “something” on the stick because I didn’t have enough records with me. The taxi driver dropped us off in front of the club, and we actually managed to climb over several fences with my DJ case through a wrong construction site—only to realize that we had walked 360 degrees around the construction site at the Deutsches Museum. The gig was great anyway!
Blitzcast 020 arrives just in time to get us in the mood for our grand pride celebrations on Saturday and Sunday, the 22nd and 23rd of June! Our good friends Jorkes & Paris Böhm, behind the glittering and decidedly queer Freeride Millennium parties, shows, and releases, have crafted a mix to give us a glimpse of what to expect from their late-night set. Ready to boogie? We are!
Find out more about our joyous Pride party: CSD ZENTRAL – CRUISE XXX-TRA LARGE and its stunning lineup right here:
Our dear friends Jorkes & Paris Böhm, the brains behind Freeride Millenium, have been stirring up the underground scene with their sets, releases, parties, and radio shows. Their imprint and party series recently released a compilation featuring tracks from several good friends from Blitz as well, in support of Queer Base, an organization based in Vienna that aids LGBTQIA*+ refugees in Austria. Queer Base provides assistance ranging from legal and social counseling to much more. We highly recommend checking out the stunning music on the compilation and supporting Queer Base’s cause through either a direct donation or by purchasing the compilation on Bandcamp.
Blitz fans will recognize the names Alessio Barletta, Lavandonia and Alles Andere. The three Italian, Munich-based DJs are known as enthusiastic selectors and scene members with a penchant for Minimal-orientated shades of Techhouse and Electro. Now the three have teamed up to form their own imprint called > DISCONTINUOUS < and have recently released their first EP > BAL < with infectious four tunes and beats from Alessio Barletta himself.
We wanted to find out more about Discontinuous, the BAL EP and Alessio Barletta’s musical journey.
Check out the preview on soundcloud and don’t forget to shop the record if you dig it, too!
BLITZ: Hi Alessio, people in Munich have known you as a DJ for a while, now you’re bringing out your first EP on your own label, Discontinuous. Tell us more about it: what can we expect from the music?
Alessio: Certainly something different from what I was doing before my move to Germany. In Rome, I delved into the world of electronic dance music back in 2009 during a period that I consider historical concerning the European and Italian minimal techno scene, a genre that I immediately fell in love with and subsequently pursued and presented as a DJ and producer. Then my work brought me here to Monaco [Munich], where I instantly had the opportunity to broaden my musical horizons by being in contact with a music scene quite different from my usual one, starting to look way closer to techno and electro artists. This experience significantly contributed to my new way of seeing, listening, selecting, and producing my music. With the BAL EP, I want to transfer my concept and idea of making music directly aimed for the dance floor at this part of my life and creative path; 4 tunes made to move dancers in different situations.
BLITZ: How would you describe the music to someone who doesn’t know anything about dance music?
Alessio: If you don’t know much about dance music, I would suggest starting listening from the basics. However, instead of recommending some popular hits, if I were to provide this kind of “explanation,” I would simply play one of the records that, for me, was the beginning of everything: a tune from 2005 by Villalobos titled ‘Chromosul.’ In my case, it opened up the world of what dance music is, or at least let’s say, the type of dance music I wanted to explore and follow. Of course, then I would play another one (the whole story must be told); more actual speaking about my taste, so why not directly the BAL EP; perfect combo in order to highlight the two different visions of music flows.
BLITZ: Tell us more about Discontinuous. When did you start thinking about it? What’s the aim behind Discontinuous?
Alessio: I spent a really long period experimenting with new things, collecting records different from what I would usually pack into my DJ bag, with the aim to find the right balance between my musical background and what I currently enjoy selecting. For a couple of years now, I’ve been focusing on my productions again, pushed by my big friend Mike (Bakked). Initially, my plan was to print some promotional copies to give to the artists I felt most in line with my style, something that I was already doing with Mike. The aim was to find a way to get in touch with selected artists and interest them for my music, but we were far away from calling it a “label”. Discontinuous truly began when it became a three-player game.
BLITZ: You’ve formed Discontinuous together with Lavandonia and Alles Andere – two more, Munich-based Italian DJs. How did you get to know each other? And tell us more about how you worked on the label and release together!
Alessio: Basically, it all started when one day I randomly met Jessica and Alessandro, two guys from Verona who had just moved here. They were talking about music, about a particular record—a record I was crazy about at that time. Enough to fill an entire evening talking as perfect strangers and then to begin a friendship entirely based on music, due to our very similar tastes and paths but different experiences. We met then regularly, with nice nights fully dedicated only to playing records. One morning, I played some tunes I had just finished; one of these was the A2-Roger (track dedicated to my cat) and they convinced me that it was the right time to release them, for real, on vinyl, just as we like it. They were exactly what I needed, the people encouraging me to take the next step, so we merged plans and ideas and we gave life to what is now Discontinuous. That’s it.
BLITZ: Where do you see Discontinuous sit in Munich’s music landscape?
Alessio: We believe that the music experiences gained in Italy can increasingly find space even here – quite simply.
Interviewer: What are your next steps?
Alessio: We are having a lot of fun at the moment and we already have a second release planned. It will be from various artists, formed by artist friends that are part of Italian collectives, well connected to us and that we cherish a lot.
Interviewer: How have your experiences as a DJ shaped the production? Is it your very first production?
Alessio: I’ve already released tracks under a different artist name, as I said with a much more minimal and experimental musical approach, in line with the Italian electronic music movement I was immersed in. Being extremely curious and passionate about electronics and technology, I was eaver to find out more about what happens on a musical level (on a production level) before a track is being finished and ultimately played by a DJ. So I would start work on tracks from scratch. And then it became my immediate parallel passion alongside DJing itself. However, the first thing I do now as part of my artistic process is to dedicate myself to production. Then, I follow it up with the search for new music based on what I enjoyed producing and I try to align the two aspects.
Interviewer: For the gear and production nerds among our readers: do you want to share some insights on the production process and the gear you used?
Alessio: Right now my hardware setup is fairly basic and is represented by the machines I know the best so far and I love to work with since the beginning. It consists of an analog polyphonic and drum synthesizers, drum machine, and a sampler, all with a dedicated sequencer. I program music but I don’t play keyboard. The sound and rhythmic programming of these three machines together is almost always the initial part of the creative process. From then I move to the computer, recording vintage synths and drum machine emulators until arrangement and mixing phase.
BLITZ: When is the next time we can see you and members of the Discontinuous gang play live?
Alessio: We are about to announce our first label night here in Munich and really can’t wait to play together, all three of us!
BLITZ: And now to our final question, that we ask every interview. 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.
Alessio:
There’s not a particular > new < one at the moment, as I’m fully focused on production and the rest of time I’m selecting new music; but I want to tell you about one that marked a significant moment in my life, since I moved I moved to Munich.
With > Tactic of Bass <, I want to thank all the people and friends that constantly support me and Blitz Club, that made me feel at home from the the very first night.
In an era where music is consumed at breakneck speed, predominantly as digital files, and exciting releases flood playlists and airwaves, there will always be musicians, labels, and fans who revel in the opposite – physical releases on vinyl. Music on vinyl, especially in club culture, offers a unique approach. It’s less about individual songs and playlists, and more about the continuous, immersive experience of music. Vinyl gains a timeless exclusivity and longevity through its physical format.
Munich-based label DifferentTimes embodies this ethos. They navigate the space between Techno, House, and Minimal with releases and parties that boast quality music and a charismatic, back-to-basics approach in terms of sound, design, promotion, and more. They prove that the peak time isn’t confined to a specific timeframe; it’s an all-night affair, every minute of the night, when played right.
They’ve graced our PLUSfloor with smart and sleek curations more than once, and we’re happy to have them return on Sunday, the 31st of March with Even Baggs and David Hornung, alongside Ben Klock, Fireground, Yamour & Zenker Brothers on the BLITZ Floor.
We sat down with the DifferentTimes crew, consisting of David, Javier, Gregor and Fridor, to delve into their approach, motivation, and inspirations. And, of course, to learn more about their upcoming party at Blitz!
In the meantime, check out their Bandcamp page here and don’t forget to follow then on Instagram, too!
And their Soundcloud page with previews and mixes here!
Let’s start with an easy question. What is Different Times all about? Who are you? What does the name stand for?
The concept behind Different Times is pretty straightforward. It’s essentially a combination of a record label and a series of parties. As the name suggests, we aim to be both musically and temporally flexible. We’re all about capturing a certain vibe without being confined to any particular music genre. Different Times also serves as a counterpoint to the current trend of overexposure while striving to promote musical and social understanding between people.
How would you describe the sound of DT to someone who doesn’t know about dance music?
Once again, we can directly connect to the philosophy behind the label here.
We’re all about delivering high-quality output that feels natural. We collaborate with artists from diverse backgrounds, yet there’s always a distinct signature to our releases. It’s a back-to-basics sound infused with that extra touch of love for detail. We encourage artists to explore different directions, focusing on what fits the label best rather than chasing current trends. Our tracks have their own unique aesthetics, which are further accentuated by the medium of vinyl. They possess a blend of mechanical and organic elements, each telling its own story.
Different Times is a vinyl label, strictly. Why? Going back to vinyl remains a viable option for many dance music labels, tell us more about your own perspective on it, though.
In the end, it all started with our love for spinning records, which laid the foundation for Different Times. We understand that by sticking to vinyl-only releases, we may limit our audience. However, we don’t see ourselves as catering exclusively to beginners. Our aim is to take people on a journey of discovering new music and experiences. Our records are crafted by DJs for DJs, and that’s why vinyl holds such significance for us. Buying a record is a more deliberate decision compared to downloading a track. We view our EPs not as individual tracks but as complete works of art by the artists. Often, there are hidden gems on our releases that people discover and cherish over time after initially purchasing the record.”
How about our hometown Munich – where do DT’s ideas interact with our town, which challenges does DT face in Munich? Are there any musical influences from Munich on DT itself? Or is it the lack of influences in Munich that inspire DT? Where does DT align in Munich’s timeline of dance music history?
Munich boasts a rich history of disco, house, and techno since the early 90s, with clubs like Ultraschall leading the way. When we conceived Different Times, the gap between house and techno in the current scene was a significant inspiration for us. It prompted us to create our own events and offer fresh experiences for club music enthusiasts. While we draw inspiration from sounds in cities like Frankfurt, Berlin, and Amsterdam, where the tech-house and minimal scenes thrive, Munich has remained relatively quiet. The scene here tends to be introverted and lacks outward presentation, particularly through social media. This poses a challenge in promoting events and artists in Munich.
However, it’s gratifying to see that despite these challenges – and partly due to our residency at Blitz – we’ve managed to build a community that trusts us and our line-ups. We’ve made significant strides in putting Munich back on the map, but there’s still much work to be done. Our focus remains on quality over quantity!
What can we expect from the upcoming DT party with Evan Baggs & David Hornung on our PLUS floor?
We’re thrilled to bring one of the scene’s pioneers to Munich and Blitz. Evan Baggs epitomizes the essence of Different Times like few others. He’s made a name for himself solely through his music, devoid of any social media hype. His releases speak volumes about his less-is-more approach, characterized by subtle hypnotism and refined arrangements. We’re in for a treat!
Where do you feel Blitz & Different Times meet culturally? Why do you feel the DT takeovers of our PLUS floor are a good match?
Our first experiences in organizing parties go back a while. Most of the time, we rented an old hall or something similar in the countryside and threw private parties. We didn’t have a large budget available; nevertheless, we always set priorities and made sure to have a very good sound system and a good basic setup consisting of a mixer and two turntables. These, in our opinion, are the essential prerequisites for a good party – the rest arises from community and mindfulness.
We find these prerequisites on the Plus Floor. It also offers the space to get lost in the music, allowing guests to really dive into the night. This often creates a subtle and non-verbal connection between the dancers, which is not based on big drops, but rather builds up over the night.
You’ve done many more parties in Munich at other venues, too. Tell us more about how the different parties work.
In addition to our label nights at Blitz, we also organize other events in suitable locations, such as Zirka or Kunstlabor. These events have emerged from the concept of Different Times: we aim to disrupt the Munich’s club scene and schedule as we know it! Often, the parties take place during the day and seamlessly transition into the night, totalling about 18 hours of celebration. Different Times indeed! For these events, we collaborate with our friends from Naiv Studio to craft a unique experience while staying true to our musical philosophy. We strive to blend international bookings with the local scene and maintain a focus on quality, both in terms of sound system and stage design, with a sense of sleek understatement. The next party is scheduled for April 13th at Zirka, followed by a special event on May 25th. This event will kick off in the afternoon at Kunstlabor and continue at the PLUS Floor from midnight onwards.
David recently mentioned your graphics are inspired by the Olympic Games in Munich. Tell us more about the inspiration behind the graphics!
We were all amazed by the visual and design identity of the 1972 Olympic Games in Munich. That was our main inspiration. Gerardo Corizzo, our art director and graphic designer, did the rest, paving the way for our identity with a wonderful concept.
Your whole aesthetic is stripped down and understated. There’s no flashy gimmicks, fast-paced video edits. It’s charismatic and about the music, but it’s not easy to promote music and parties like this nowadays. How do you do it, anyway? What’s your approach?
The idea was to depart from the common aesthetic approach of the current underground scene. Gerry’s goal was to offer the audience something unique, a creative direction diverging from the prevailing trends. We entrusted him with the freedom of expression, enabling him to accentuate the core values of the label and establish a distinctive, recognizable identity.”
David, many people who know you associate you with the Riviera Records store and Different Times in Munich. Can you point out how the two interact with each other?
At this point, it’s important for me to differentiate between both projects and underscore their similarities. Both projects are fueled by a great deal of passion, and the most obvious connection is, of course, the medium of vinyl. Moreover, they have motivated me to establish a communal space that may not have existed in Munich before. I’d da that Different Times represents my own musical style and vision more specifically, whereas Riviera Records is a shared idea and community space and platform for developing and exchanging ideas. Nevertheless, it’s undeniable that both projects are interconnected and mutually influential.”
David, as you’re playing the next DT takeover: how have the work with Different Times or your past gigging experiences at Blitz influenced your musical approach?
Speaking about my upcoming performance at the DT takeover, I can only talk about my own journey. Blitz has been a huge inspiration for me over the past few years, broadening my horizons in unexpected ways. The club experience there is just something else, and I love going as a guest too. I feel like my style has evolved, leaning more towards techno now compared to five years back. It’s been a journey of experimentation, honing my own sound along the way. Engaging with the crowd is always a thrill; it’s a challenge that drives me every time. I’m definitely looking forward to opening the Plus floor next Sunday!
Final question: aside from personal connections and self promotion, networking, etc – what piece of music is on your personal heavy rotation right now?
Regarding the final question: To be honest, I try to prepare myself from gig to gig. This Sunday, I’ll be playing the warm-up for Evan Baggs, so I’ll completely restock my record bag. However, I have a homage to Munich with the appropriate motto for the Plus floor ready:
Foto Credit Different Times crew: Tobias Friedauer / https://www.instagram.com/tobiasfriedauer
Our residents Polygonia and Muallem are featured in Groove Magazine’s DJ charts with their current faves – find their pics and more the likes of Len Faki as well as many more right here!
There’s a new monthly event series at Blitz, taking place Friday once a month: say hello to our new party, Ghosts on Acid!
The Ghosts on Acid invite you to dance and dream, and let the music B R E A T H E in times when dance music mostly is about > harderbetterfasterstronger < by channelling the wide-ranging, blissed out and psychedelic spectrum of House music. Ghosts on Acid celebrates digging and vinyl culture, retro-perspectives on House music, pace & the little details in music, sound and groove and felicity in funk!
After last February’s inaugurational party with the like of Alex Kassian, Sweely, Lavandondia & Alles Andere and Katia Curie with Nizar Sarakbi, we’re excited about round #2 on Friday, the 8th of March with French trio magnifique Apollonia (pictured!), consisting of Dan Ghenacia, Dyed Soundorom and Shonky as well as fellow French DJ Melody and once again, the wunderbare Lavandonia.
And the third rendition on April 12th is just around the corner with Francesco Del Garda, James Zabiela and Magda! Tickets onsale now.
The Ghosts on Acid remind the ravers out there to take it slow and commemorate dance music and thereby act as a vital contrast to the ever-driving, rushing & pushing, current dance music drift!
We’ve introduced a new ticket category for all early birds among the dancers: the midnight ticket! The ticket is for all those that value a great opening set and want to discover the whole night from the start of the party.
The ticket costs 10€, is valid until 23:59 and loses its validity after this point. Don’t forget to turn up in time and please remember the queue at the entrance. See you soon, for the very first beats of evening!
The midnight ticket is available for (nearly) all our events. Get yours here!
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.
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 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.
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
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.
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!
