Surgeon/Marcel Dettman/Redshape/Rob Hall/Alern 8/Tim Exile/DMX Krew etc
4.5/5
Sequence has been a dominant presence on Manchester's musical landscape, and one of few club nights able to host major acts like Aphex Twin and Ben Sims yet still willing to book genuinely underground, experimental artists. After 5 years they announced this would be the last Sequence party - and a night where they invited back some of the artists who'd been highlights at previous parties.
Mark Turner kicked off with a suitably celebratory party set, throwing down sped-up disco and classics like 'Jaguar' and Matt Dears' 'Dog Days'. The only problem was that he was in Sankeys' room 2, which isn't so much a room as a foyer which people constantly have to jostle through.
Staying in room 2, Sequence favourite Tim Exile had the crowd packed in for his ace live set. Not only entertaining but also piss-funny, his use of a keyboard, his voice and a silly hat delighted the audience. Imagine a bull in a china town after-hours disco hoe down and you'll be pretty near his sound.
Altern 8 and Ed DMX carried the disco flavour further in their own estimable styles, but with the headline guests playing in the main room it was increasingly difficult to pin down dancers in room 2.
After a superlative performance at the Paradise Factory last year, Redshape was the first of the big guests to play up front. Just 2 years after his first release he's pretty much a cult figure already, and was watched with much interest here. In fact some people seemed so interested to see him they forgot to dance, preferring instead to stare at him busily working his gear. His is the kind of deep techno that can be enjoyed whenever, and he translated it perfectly to the big room at Sankeys with another expertly delivered live set.
With the club now approaching peak time Marcel Dettman took the decks. His streamlined take on house and techno energised the dancefloor, getting tougher up to the point where Surgeon took over. Unfortunately Surgeon's set was shortened as a consequence of Redshape starting later than scheduled. Perhaps because of this his set was much more focussed than those who've heard his recent techno/dubstep crossover performances might have expected: the fusion of his influences was total and seamless. For me this was the kind of industrial strength set he's been threatening to nail for a while. True future music.
Rob Hall has been a guest at many Sequence parties over the years, so it was fitting that he should finish the night. The Gescom associate knew the script and the frenetic techno perpetuated. Neither mindlessly hard nor referencing just passing trends, this was the sound of the North England underground. The end came all too soon.
Michael Curtis
http://www.residentadvisor.net/review-view.aspx?id=5662
Sunday, 21 February 2010
Shed & Portable @ Faktion. School of Sound Recording, 09/11/08
The Faktion crew have been staging serious players from the techno and dubstep underground since early this year, but I doubt any of their line ups have provoked such keen anticipation as this did. The SSR venue is a great place to hear quality music, removed from the city centre, without the pomp of dedicated, commercial clubs and kitted out with a killer soundsystem.
Faktion resident Padrow, playing before Portable/Bodycode, built the momentum nicely with an entertaining set. If the mixing lacked something, the selection and set building more than made up for it, with electro and techno across styles and eras all slotted into place.
There's something special and unique about the sound of Portable/Bodycode (perhaps we should just call him Alan?) Maybe this has something to do with a history that’s seen him take his music from Cape Town in South Africa to London, before settling in Lisbon, Portugal. Somehow he’s managed to forge a sound that seems equal parts acid house 1989 and experimental techno 2004. It all pulses with organic life, stomping like an unleashed though very friendly beast. His use of a mic to perform and dub the vocals to tracks like 'Don't Give Up' was a pleasing infraction against the sometimes oh-so-not-live set. His compositions strong harmonic and melodic content helped make this a lively and captivating performance.
Shed is playing a number of dates to support his Shedding the Past album. Recording his first long player, Shed has expanded and refined his sound pallet to make something of a zeitgeist album which has been widely acclaimed and, tellingly, is sold out in virtually all outlets 2 months after its release. However, the problem with promotional tours was maybe heard tonight. With this set focussed on his Ostgut material tonight, those who loved his earlier Soloaction releases and there primal deep techno and house stylings were left a little frustrated. But thats not to detract from were he's at now: his genre splitting sound deserves to be heard by many more heads.
The first half of this set was all about suspense and tension building, with the basic elements deployed to maximum effect: taught beats sparring with pristine breakdowns, with the release of the bass drum's drop tantalisingly withheld. The last half hour saw the dancers given their rightful prize, the beats rising until Shed's old school sound broke through with the Ostgut bomb 'Warped Mind'. Whilst parts of his set were received with heads nodding rather than limbs flailing, the applause as he finished showed that Shed's appearance was very much appreciated.
The last hour was for the residents to work the dancefloor, and a forthright techno selection from the Aerobiq Mystiq did just that. Unfortunately it’s likely this will be the last Faktion party at SSR, which is a shame as it’s perfectly suited to their music on the outskirts.
Michael Curtis
http://www.residentadvisor.net/review-view.aspx?id=5621
Faktion resident Padrow, playing before Portable/Bodycode, built the momentum nicely with an entertaining set. If the mixing lacked something, the selection and set building more than made up for it, with electro and techno across styles and eras all slotted into place.
There's something special and unique about the sound of Portable/Bodycode (perhaps we should just call him Alan?) Maybe this has something to do with a history that’s seen him take his music from Cape Town in South Africa to London, before settling in Lisbon, Portugal. Somehow he’s managed to forge a sound that seems equal parts acid house 1989 and experimental techno 2004. It all pulses with organic life, stomping like an unleashed though very friendly beast. His use of a mic to perform and dub the vocals to tracks like 'Don't Give Up' was a pleasing infraction against the sometimes oh-so-not-live set. His compositions strong harmonic and melodic content helped make this a lively and captivating performance.
Shed is playing a number of dates to support his Shedding the Past album. Recording his first long player, Shed has expanded and refined his sound pallet to make something of a zeitgeist album which has been widely acclaimed and, tellingly, is sold out in virtually all outlets 2 months after its release. However, the problem with promotional tours was maybe heard tonight. With this set focussed on his Ostgut material tonight, those who loved his earlier Soloaction releases and there primal deep techno and house stylings were left a little frustrated. But thats not to detract from were he's at now: his genre splitting sound deserves to be heard by many more heads.
The first half of this set was all about suspense and tension building, with the basic elements deployed to maximum effect: taught beats sparring with pristine breakdowns, with the release of the bass drum's drop tantalisingly withheld. The last half hour saw the dancers given their rightful prize, the beats rising until Shed's old school sound broke through with the Ostgut bomb 'Warped Mind'. Whilst parts of his set were received with heads nodding rather than limbs flailing, the applause as he finished showed that Shed's appearance was very much appreciated.
The last hour was for the residents to work the dancefloor, and a forthright techno selection from the Aerobiq Mystiq did just that. Unfortunately it’s likely this will be the last Faktion party at SSR, which is a shame as it’s perfectly suited to their music on the outskirts.
Michael Curtis
http://www.residentadvisor.net/review-view.aspx?id=5621
Meandyou @ Bookbinders, Manchester 24/10/2008
Move D / MLZ
3.5/ 5 (4 if you want to be generous)
Meandyou has quickly established itself as eminent amongst the many house/techno dances in Manchester. With a booking policy seemingly focussed on talent thats often overlooked (such as Bovill & Murmur of the relatively obscure UK techno dub label Meanwhile, scheduled to play next month) Move D looked like the perfect guest.
Move D (David Moufang from Heidleberg, Germany) set up Source Records DE way back in 1992 and has been releasing deep house, techno and acid cuts since then. Both his own releases and the Source label output vary in style but are always of the highest quality - this is an artist who has serious ideas about quality control. Recently he's been working with super cool labels like Workshop and Running Back, and doing my fact checking, I saw he even had a record out on Warp back in 1996. It was his connection with Manchester's Modern Lover records that brought him to the rainy city, headlining a label showcase for the deep techno imprint, along with fellow Modern Lover MLZ. MLZ is the new project from DJ Miles, half of the genre-busting Pendle Coven act. His new project is a chance to focus on four-to-the-dancefloor business.
Walking into the Bookbinders club, it felt most like a good old British working mens club - but tucked away in a city centre basement near Manchester's Canal street. Low ceilings are normally desirable in a club, mirrored walls less so. But no problem, it added glitter proceedings and made the venue seem as expansive as the performers selections. The crowd was cool, youthful and eagerly anticipating headliner Move D's set.
Residents Dan Mumberson and Joseph set the tone, shimmying between lush deep house and acute, functional rhythm cuts. They sneaked the odd epic techno dub track in as well - a style the night has championed thus far. Unfortunately I must have missed fellow resident Arnaldo's set; his techno leanings might have added a bit of grit to proceedings. Abstract Earth and Craig Boylan were apparently responsible for the excellent visuals - apt and un-intrusive.
Move D took the decks and filled the dancefloor. Leaving his laptop at home and playing a DJ selection he built on the sound work of the residents, taking us further into the realms of the deep house groove. I can only guess at the gems that must weigh down his record shelves, but he gave us a glimpse tonight. Tight and efficient mixing, and a classy sound that was all restrained emotion and super quality productions.
MLZ found previously unheard levels of bass, plumbing the depths. In an hour long Ableton set he ranged around the musical terrain, as anyone familiar with his DJ sets might expect. From a dubby techno starting point he was quickly into more irregular beat programming. Whilst impressive in its range and movement between styles, it did sound a bit well behaved, lacking the anger of aggressive dubstep or the weight of techno dub - not so firmly set on dancefloor devastation. Perhaps this just touches on the soundsystems set up. Although a seemingly imposing rig, the sound was a bit light, and with the nature of the music played you need some deep bass to really make it physical.
Outside, the street filled up with smiling faces and warm words for meandyou, a night which is only going to move onwards and upwards.
Michael Curtis
http://www.residentadvisor.net/review-view.aspx?id=5575
3.5/ 5 (4 if you want to be generous)
Meandyou has quickly established itself as eminent amongst the many house/techno dances in Manchester. With a booking policy seemingly focussed on talent thats often overlooked (such as Bovill & Murmur of the relatively obscure UK techno dub label Meanwhile, scheduled to play next month) Move D looked like the perfect guest.
Move D (David Moufang from Heidleberg, Germany) set up Source Records DE way back in 1992 and has been releasing deep house, techno and acid cuts since then. Both his own releases and the Source label output vary in style but are always of the highest quality - this is an artist who has serious ideas about quality control. Recently he's been working with super cool labels like Workshop and Running Back, and doing my fact checking, I saw he even had a record out on Warp back in 1996. It was his connection with Manchester's Modern Lover records that brought him to the rainy city, headlining a label showcase for the deep techno imprint, along with fellow Modern Lover MLZ. MLZ is the new project from DJ Miles, half of the genre-busting Pendle Coven act. His new project is a chance to focus on four-to-the-dancefloor business.
Walking into the Bookbinders club, it felt most like a good old British working mens club - but tucked away in a city centre basement near Manchester's Canal street. Low ceilings are normally desirable in a club, mirrored walls less so. But no problem, it added glitter proceedings and made the venue seem as expansive as the performers selections. The crowd was cool, youthful and eagerly anticipating headliner Move D's set.
Residents Dan Mumberson and Joseph set the tone, shimmying between lush deep house and acute, functional rhythm cuts. They sneaked the odd epic techno dub track in as well - a style the night has championed thus far. Unfortunately I must have missed fellow resident Arnaldo's set; his techno leanings might have added a bit of grit to proceedings. Abstract Earth and Craig Boylan were apparently responsible for the excellent visuals - apt and un-intrusive.
Move D took the decks and filled the dancefloor. Leaving his laptop at home and playing a DJ selection he built on the sound work of the residents, taking us further into the realms of the deep house groove. I can only guess at the gems that must weigh down his record shelves, but he gave us a glimpse tonight. Tight and efficient mixing, and a classy sound that was all restrained emotion and super quality productions.
MLZ found previously unheard levels of bass, plumbing the depths. In an hour long Ableton set he ranged around the musical terrain, as anyone familiar with his DJ sets might expect. From a dubby techno starting point he was quickly into more irregular beat programming. Whilst impressive in its range and movement between styles, it did sound a bit well behaved, lacking the anger of aggressive dubstep or the weight of techno dub - not so firmly set on dancefloor devastation. Perhaps this just touches on the soundsystems set up. Although a seemingly imposing rig, the sound was a bit light, and with the nature of the music played you need some deep bass to really make it physical.
Outside, the street filled up with smiling faces and warm words for meandyou, a night which is only going to move onwards and upwards.
Michael Curtis
http://www.residentadvisor.net/review-view.aspx?id=5575
Faktion @ School of Sound Recording, Manchester UK, 03/10/08
T++/Hate Soundsystem/Faktion DJs
Refusing to be just another techno night in Manchester, Faktion called in the superlative T++ and the bewildering Hate Soundsystem.
Residents Padro and Connor were on warm up duties, showing they collect only the finest techno à la Berghain. The main hall was kept as dark as possible, presumably as an effort to evoke memories of warehouse parties and to emphasise its all about the music: no light show to dazzle, no smoke machine. Not much chance of seeing who your dancing next to either. Away from the bars of central Manchester, the School of Sound Recording was never rammed, but was suitably busy for the set by T++.
A Berlin old boy who's early releases surfaced on Chain Reaction and his own DIN label in 1995, T++ is a relatively new project for Torsten Profock. He's also part of Robert Henke's Monolake project, replacing Ableton CEO Gerhard Behles. With Henke also part of the SW development team at Ableton, I reckon I can guess what was running on the T++ laptop.
He played for an hour at Faktion, his diffuse, reverb drenched sound building in intensity. No place for chords or melody here, the trappings of conventional music discarded and forgotten. Just a bulk of metallic sound. Driven by the 130 bpm tempo, his programming swallows the more familiar patterns of techno, dubstep and electro to make something thoroughly modern, and with an aesthetic that surely demonstrates how vital electronic music is culturally today. Its also excellent dance music. Does sound a lot like Monolake.
The Hate Soundsystem crew mounted the stage to finish off the night. A good deal of hype has surrounded this project: press releases talk of a carload full of DAT tapes with unreleased 91-94 hardcore tracks handed over to the label in Sowerby Bridge, presumably on a dark and stormy night under the auspices of the wicked witch of West Yorkshire. For tonight's show we had 3 guys got on stage fingering their laptops, one with a balaclava, one with a fencing mask, the last indistinct in the gloom. I couldn't work out why it was a 3 man job, but to give them some credit they did make a formidable presentation.
Whilst the label output has dubstep flavours alongside the oldskool, in the live setting it was all about the jungle. Dark and often interrupted by atmospheric breakdowns. Perhaps this style doesn't manage the intensity and raw malevolence of drum & bass but its no less a product of urban frustration. Some dirt and toughness was absent (probably because they've had their stuff mastered properly, unlike the most junglists in '94), but essential listening for fans of Burial and the like.
With an hour to go there was plenty of space on the floor, a shame to see that but this was some brave programming: techno, electronica and jungle is more than many people can stomach. But with Sequence announcing that their last party will be in November, Faktion may be left to satisfy the cities appetite for forward thinking music.
Michael Curtis
Refusing to be just another techno night in Manchester, Faktion called in the superlative T++ and the bewildering Hate Soundsystem.
Residents Padro and Connor were on warm up duties, showing they collect only the finest techno à la Berghain. The main hall was kept as dark as possible, presumably as an effort to evoke memories of warehouse parties and to emphasise its all about the music: no light show to dazzle, no smoke machine. Not much chance of seeing who your dancing next to either. Away from the bars of central Manchester, the School of Sound Recording was never rammed, but was suitably busy for the set by T++.
A Berlin old boy who's early releases surfaced on Chain Reaction and his own DIN label in 1995, T++ is a relatively new project for Torsten Profock. He's also part of Robert Henke's Monolake project, replacing Ableton CEO Gerhard Behles. With Henke also part of the SW development team at Ableton, I reckon I can guess what was running on the T++ laptop.
He played for an hour at Faktion, his diffuse, reverb drenched sound building in intensity. No place for chords or melody here, the trappings of conventional music discarded and forgotten. Just a bulk of metallic sound. Driven by the 130 bpm tempo, his programming swallows the more familiar patterns of techno, dubstep and electro to make something thoroughly modern, and with an aesthetic that surely demonstrates how vital electronic music is culturally today. Its also excellent dance music. Does sound a lot like Monolake.
The Hate Soundsystem crew mounted the stage to finish off the night. A good deal of hype has surrounded this project: press releases talk of a carload full of DAT tapes with unreleased 91-94 hardcore tracks handed over to the label in Sowerby Bridge, presumably on a dark and stormy night under the auspices of the wicked witch of West Yorkshire. For tonight's show we had 3 guys got on stage fingering their laptops, one with a balaclava, one with a fencing mask, the last indistinct in the gloom. I couldn't work out why it was a 3 man job, but to give them some credit they did make a formidable presentation.
Whilst the label output has dubstep flavours alongside the oldskool, in the live setting it was all about the jungle. Dark and often interrupted by atmospheric breakdowns. Perhaps this style doesn't manage the intensity and raw malevolence of drum & bass but its no less a product of urban frustration. Some dirt and toughness was absent (probably because they've had their stuff mastered properly, unlike the most junglists in '94), but essential listening for fans of Burial and the like.
With an hour to go there was plenty of space on the floor, a shame to see that but this was some brave programming: techno, electronica and jungle is more than many people can stomach. But with Sequence announcing that their last party will be in November, Faktion may be left to satisfy the cities appetite for forward thinking music.
Michael Curtis
Krucht & Flucht @ the Ruby Lounge, Manchester UK, 26/09/08
Joseph Capriati/Massi DL/Lucio Aquilina
Krucht & Flucht, introducing themselves to the Manchester club scene, invited the new generation of Naples techno artists to Manchester; Joseph Capriati, Massi DL and Lucio Aquilina. Capriati has been in the vanguard of Italy's resurgent techno movement, and releases by all three have been charting with DJs throughout Europe.
Lucio Aquilina, the first of the trio to perform, struggled to keep the [frankly underwhelming] crowd on the dance floor with his Ableton set. I'd be more inclined to complain about the young crowd than the quality of music. Capriati followed and, playing a traktor scratch DJ set, might have been expected to play a more varied set than Aquilina managed in his live set. Unfortunately not - he started well but struggled to build things up in his set.
Ruby Lounge itself is an attractive club with plush sofas tucked away here and there, the kind of place that has an unimpressive soundsystem and outrageous prices at the bar. Not an obvious place to run a seemingly student focussed night, but the low ceiling and the compartmentalised layout helped encourage the atmosphere. Tucked away at the back was a second room, but with half a soundsytem (ie no bass) and uninspired minimal selections this was pretty much a waste of time.
Massi DL closed the show and in badass atyle, getting straight down to business with some booty-shaking house. Playing with Traktor and a midi controller, there were some avoidably slack mixes but it was just too funk for anyone to care. If DJ Sneak traded in his Chevrolet for an Alfo Romero, this is probably what it would sound like.
As they are 3 of the youngest artists on the scene today, and known for their quality productions rather than their live performances, I think the best is yet to come from the new Neapolitan techno mafia.
Michael Curtis
http://www.residentadvisor.net/review-view.aspx?id=5540
Krucht & Flucht, introducing themselves to the Manchester club scene, invited the new generation of Naples techno artists to Manchester; Joseph Capriati, Massi DL and Lucio Aquilina. Capriati has been in the vanguard of Italy's resurgent techno movement, and releases by all three have been charting with DJs throughout Europe.
Lucio Aquilina, the first of the trio to perform, struggled to keep the [frankly underwhelming] crowd on the dance floor with his Ableton set. I'd be more inclined to complain about the young crowd than the quality of music. Capriati followed and, playing a traktor scratch DJ set, might have been expected to play a more varied set than Aquilina managed in his live set. Unfortunately not - he started well but struggled to build things up in his set.
Ruby Lounge itself is an attractive club with plush sofas tucked away here and there, the kind of place that has an unimpressive soundsystem and outrageous prices at the bar. Not an obvious place to run a seemingly student focussed night, but the low ceiling and the compartmentalised layout helped encourage the atmosphere. Tucked away at the back was a second room, but with half a soundsytem (ie no bass) and uninspired minimal selections this was pretty much a waste of time.
Massi DL closed the show and in badass atyle, getting straight down to business with some booty-shaking house. Playing with Traktor and a midi controller, there were some avoidably slack mixes but it was just too funk for anyone to care. If DJ Sneak traded in his Chevrolet for an Alfo Romero, this is probably what it would sound like.
As they are 3 of the youngest artists on the scene today, and known for their quality productions rather than their live performances, I think the best is yet to come from the new Neapolitan techno mafia.
Michael Curtis
http://www.residentadvisor.net/review-view.aspx?id=5540
Cologne Rolls - interview with Riley Reinhold and Jacqueline Klein (Traum Schallplatten/Trapez/MBF)
With the spotlight focussed on Berlin, the importance of Cologne on the international techno scene is often overlooked. However, before DJ's started flocking to Berlin record labels like Traum Schallplatten and Trapez were redefining German house and techno music, and in the process helping to bring a new generation of dance artists from underground clubs to living rooms and mainstream music magazines worldwide. Traffic wanted to find out what's special about Cologne, so Michael Curtis met the Traum label owners Jacqueline and Riley Reinhold to learn more.
The city of Cologne in western Germany (named Köln on the Germans own maps) has been home to some of the most renowned techno artists and labels. Many still remain there, resisting the magnetic pull Germany's capital has on those devoted to electronic music. Labels such as the groundbreaking Kompakt, with its a shop and distribution business; tech house imprints like Treibstoff, Platzhirsch and Boxer Sport; Sender and Areal, with their uniquely trippy techno sound; and the internationally renowned Traum Schallplatten. The Kompakt label, with its shop and distribution business, has done more than any to spread the Cologne sound worldwide, along with Traum's melodic, thoughtful releases and the dancefloor friendly cuts of sub-label Trapez.
Founded by the husband and wife team of Riley and Jacqueline Reinhold in 1998, Traum and its sub labels (Trapez, Trapez Ltd, My Best Friend and MBF Ltd) now have over 300 releases behind them.
As much a home to avant-garde electronic music as dance floor rockers in its early years, Traum was one of the first European labels to work with South American artists. They've had success with producers like Gabriel Ananda and Minilogue, and have introduced people like Dominik Eulberg, Dinky, Ryan Crosson and Burnski to the world. Having spent 7 years writing reviews for music magazine De:bug, its no surprise that Riley has an ear for a good beat.
I meet the Traum bosses in relaxed mood at their spacious offices. Locally based producers come and go talking mastering and promotion with Steve Barnes, the labels promotions manager and the man behind Process and Cosmic Sandwich. When I ask why a guy from Brighton is doing their promo in Cologne they start to talk about how things work there.”He’s the boyfriend of my sister,” Jacqueline explains. “ My sister studied in Brighton so they got to know each other then… Cologne people are still very family orientated, smaller companies and indie companies.” Many of the labels started as collaborations between family and close friends, and have endured that way through growth and success.
Riley emphasises the strong indie background of the city. “I would say the key word for the whole techno scene in Cologne is that do-it-yourself, where usually we don’t have a producer or something. I mean the producer is often a DJ, and is doing the artwork, and is doing the music and producing and sometimes he is also doing the mastering.”
Riley and Jacqueline met in the early 90’s when Riley was running raves, and she was soon involved with the running of the parties, hosting a second room where she could spin ambient records. “It was a soundsystem called Cosmic Orgasm which we used to do for 7 years, me and Sascha Kösch who is now head of De:bug magazine,” Riley recalls.
The rave scene wasn't restricted to Cologne - underground raves were going off across Germany in the early 90's - but they were important for the developing Cologne sound. Back then it was the only way you could run an all night party, and was a necessary opposition to the mainstream, commercial clubs. The out of town environment had an influence on the developing sound. "We had lots of freedom, we could experiment," says Riley. "There was no threat because we were organising our own parties where we were also the DJ's, so I think this is super important for Cologne because we all had lots of freedom.
“I started in ’89 to make parties and there were 2 or 3 other people [running soundsystems] in town so we make raves in industrial spaces and other places. At that time Kompakt didn’t have a soundsystem - Wolfgang Voigt was producing music, Jorg Burger was producing music but they were not involved with the party scene. So we were 3 or 4 soundsystems and we were getting all the early records from Wolfgang."
The name of Wolfgang Voigt is often mentioned. A prolific producer, he founded the Profan, Studio 1 and Auftrieb labels which preceded Kompakt, and his releases, under many aliases, have been the driving force for all these labels. Lately he has been able to take a back seat, but in the early days Profan had only the music of Wolfgang and his brother Reinhard to release. As a producer he has probably done more than any to shape the Cologne sound - though in the confines of their scene it is impossible for anyone to work in isolation. "We were all influencing each other in the middle of the 90's," comments Riley.
DJ's have had people dancing in Cologne since the start of the 80's, with a strong disco scene up to 1985 led by one of the sons of famous electronic music composer Karlheinz Stockhausen. Aside from a few dusty tapes not much has survived from this era. In '88 they were directly exposed to the burgeoning acid house scene. With EMI records German HQ there, people like Marshall Jefferson flew in from the US.
Riley had previously been heavily into new wave, and had a strong connection to the north of England with his passion for bands like Joy Division and the Fall (he fondly remembers spending a whole day with Mark E Smith when they toured Germany.) So while Cologne was experiencing its very own 'summer of love' he also visited Manchester's infamous Hacienda club, and fell irretrievably for techno.
Through the 90's the scene developed on the back of an intimate group of producers and promoters, who went on to make some great music and found successful music labels, shops and magazines. Back then they were religiously attending nights like the midweek sessions at the Liquid Sky club. Riley says, "We were always there, like every Wednesday I think it was, and we were all there in the middle of the week. You know, fuck it, Thursday, Friday, go to work, fuck it, just enjoy the music and everything was very unprofessional but super quality music and nice people. Eventually its business, nowadays all of the labels grow into companies. Its a lot of responsibility, we employ people."
Electronic music in Cologne blossomed and by the end of the 90's its distinguished producers and far reaching record labels gained global recognition. Distinct from the movements in other German cities, Jacqueline speaks of it being "very west orientated, where Berlin is more east orientated. Its also very close to the borders." As close to Paris as it is to Berlin, its much quicker to get to Brussels or Amsterdam than it is to reach the capital. Mentioning Napolean's occupation of Cologne, Riley suggests that historically it is almost a Franco-German city, and attributes a laissez-faire attitude to the influence of their neighbours. Like Berlin, it has a reputation for being a very liberal and tolerant city.
While their dance scene is now well established, compared to what's happening in Berlin it's tiny. The capital has its advantages and Jacqueline admits to have considered relocating. "You've got more people and more artists there, you meet up in clubs which you don't do here... you always meet the same people, in Berlin you probably always meet different people."
With not only their family but many of their artists still based in Cologne there would be too much for them to lose it they left. "Some people are coming back from Berlin, their dreams are scattered and they go home, go back to their hometown because they see there is a lot there," Riley observes. "I don't know how much Berlin can still take, this is a question, so I think we are quite happy here."
As I'm preparing to leave, seeing Riley animated as he and Patrice Baumel enthusiastically skip through CDs, I have to conclude that whatever might make the scene in Cologne unique, some things are the same everywhere. Those people who are passionate about their sound always stand out, and after 10 years there's still no shortage of enthusiasm at the Traum offices.
Michael Curtis
The city of Cologne in western Germany (named Köln on the Germans own maps) has been home to some of the most renowned techno artists and labels. Many still remain there, resisting the magnetic pull Germany's capital has on those devoted to electronic music. Labels such as the groundbreaking Kompakt, with its a shop and distribution business; tech house imprints like Treibstoff, Platzhirsch and Boxer Sport; Sender and Areal, with their uniquely trippy techno sound; and the internationally renowned Traum Schallplatten. The Kompakt label, with its shop and distribution business, has done more than any to spread the Cologne sound worldwide, along with Traum's melodic, thoughtful releases and the dancefloor friendly cuts of sub-label Trapez.
Founded by the husband and wife team of Riley and Jacqueline Reinhold in 1998, Traum and its sub labels (Trapez, Trapez Ltd, My Best Friend and MBF Ltd) now have over 300 releases behind them.
As much a home to avant-garde electronic music as dance floor rockers in its early years, Traum was one of the first European labels to work with South American artists. They've had success with producers like Gabriel Ananda and Minilogue, and have introduced people like Dominik Eulberg, Dinky, Ryan Crosson and Burnski to the world. Having spent 7 years writing reviews for music magazine De:bug, its no surprise that Riley has an ear for a good beat.
I meet the Traum bosses in relaxed mood at their spacious offices. Locally based producers come and go talking mastering and promotion with Steve Barnes, the labels promotions manager and the man behind Process and Cosmic Sandwich. When I ask why a guy from Brighton is doing their promo in Cologne they start to talk about how things work there.”He’s the boyfriend of my sister,” Jacqueline explains. “ My sister studied in Brighton so they got to know each other then… Cologne people are still very family orientated, smaller companies and indie companies.” Many of the labels started as collaborations between family and close friends, and have endured that way through growth and success.
Riley emphasises the strong indie background of the city. “I would say the key word for the whole techno scene in Cologne is that do-it-yourself, where usually we don’t have a producer or something. I mean the producer is often a DJ, and is doing the artwork, and is doing the music and producing and sometimes he is also doing the mastering.”
Riley and Jacqueline met in the early 90’s when Riley was running raves, and she was soon involved with the running of the parties, hosting a second room where she could spin ambient records. “It was a soundsystem called Cosmic Orgasm which we used to do for 7 years, me and Sascha Kösch who is now head of De:bug magazine,” Riley recalls.
The rave scene wasn't restricted to Cologne - underground raves were going off across Germany in the early 90's - but they were important for the developing Cologne sound. Back then it was the only way you could run an all night party, and was a necessary opposition to the mainstream, commercial clubs. The out of town environment had an influence on the developing sound. "We had lots of freedom, we could experiment," says Riley. "There was no threat because we were organising our own parties where we were also the DJ's, so I think this is super important for Cologne because we all had lots of freedom.
“I started in ’89 to make parties and there were 2 or 3 other people [running soundsystems] in town so we make raves in industrial spaces and other places. At that time Kompakt didn’t have a soundsystem - Wolfgang Voigt was producing music, Jorg Burger was producing music but they were not involved with the party scene. So we were 3 or 4 soundsystems and we were getting all the early records from Wolfgang."
The name of Wolfgang Voigt is often mentioned. A prolific producer, he founded the Profan, Studio 1 and Auftrieb labels which preceded Kompakt, and his releases, under many aliases, have been the driving force for all these labels. Lately he has been able to take a back seat, but in the early days Profan had only the music of Wolfgang and his brother Reinhard to release. As a producer he has probably done more than any to shape the Cologne sound - though in the confines of their scene it is impossible for anyone to work in isolation. "We were all influencing each other in the middle of the 90's," comments Riley.
DJ's have had people dancing in Cologne since the start of the 80's, with a strong disco scene up to 1985 led by one of the sons of famous electronic music composer Karlheinz Stockhausen. Aside from a few dusty tapes not much has survived from this era. In '88 they were directly exposed to the burgeoning acid house scene. With EMI records German HQ there, people like Marshall Jefferson flew in from the US.
Riley had previously been heavily into new wave, and had a strong connection to the north of England with his passion for bands like Joy Division and the Fall (he fondly remembers spending a whole day with Mark E Smith when they toured Germany.) So while Cologne was experiencing its very own 'summer of love' he also visited Manchester's infamous Hacienda club, and fell irretrievably for techno.
Through the 90's the scene developed on the back of an intimate group of producers and promoters, who went on to make some great music and found successful music labels, shops and magazines. Back then they were religiously attending nights like the midweek sessions at the Liquid Sky club. Riley says, "We were always there, like every Wednesday I think it was, and we were all there in the middle of the week. You know, fuck it, Thursday, Friday, go to work, fuck it, just enjoy the music and everything was very unprofessional but super quality music and nice people. Eventually its business, nowadays all of the labels grow into companies. Its a lot of responsibility, we employ people."
Electronic music in Cologne blossomed and by the end of the 90's its distinguished producers and far reaching record labels gained global recognition. Distinct from the movements in other German cities, Jacqueline speaks of it being "very west orientated, where Berlin is more east orientated. Its also very close to the borders." As close to Paris as it is to Berlin, its much quicker to get to Brussels or Amsterdam than it is to reach the capital. Mentioning Napolean's occupation of Cologne, Riley suggests that historically it is almost a Franco-German city, and attributes a laissez-faire attitude to the influence of their neighbours. Like Berlin, it has a reputation for being a very liberal and tolerant city.
While their dance scene is now well established, compared to what's happening in Berlin it's tiny. The capital has its advantages and Jacqueline admits to have considered relocating. "You've got more people and more artists there, you meet up in clubs which you don't do here... you always meet the same people, in Berlin you probably always meet different people."
With not only their family but many of their artists still based in Cologne there would be too much for them to lose it they left. "Some people are coming back from Berlin, their dreams are scattered and they go home, go back to their hometown because they see there is a lot there," Riley observes. "I don't know how much Berlin can still take, this is a question, so I think we are quite happy here."
As I'm preparing to leave, seeing Riley animated as he and Patrice Baumel enthusiastically skip through CDs, I have to conclude that whatever might make the scene in Cologne unique, some things are the same everywhere. Those people who are passionate about their sound always stand out, and after 10 years there's still no shortage of enthusiasm at the Traum offices.
Michael Curtis
COLOGNE CLASSICS
(As published alongside the Riley Reinhold and Jacquleine Klein interview)
Thomas Fehlman – Streets of Blah ep - kompakt
3 tracks capture breadth of the Cologne sound, from dreamy to rocking
Studio 1 – Gold – studio 1
Classic minimal techno on Wolfgang Voigt's techno dub project
Dominik Eulberg – Die Rotbauchunken Vom Tegernsee - traum
Epic deep house sound. Breakthrough release for Eulberg
Gabriel Ananda – Süssholz - treibstoff
A huge summery anthem
Triple R - Friends - kompakt
Selection showcasing Cologne artists and their mates worldwide
Ozy - Imaginary Rockstar Syndrome - trapez
How minimal techno should be - deep, soulful and funky
Heib – Akrobat - auftrieb
Deep, tuneful techno in classic German style
Cio D’or – Hokus Pokus – treibstoff
Simple but effective. The feminine touch
Cosmic Sandwich – Cosmic Sandwich – MBF Ltd
Across 10 minutes this track twists and turns inside out
Jürgen Paape – So Weit Wie Noch Nie – kompakt
With its dreamy vocal smaple and disco groove, leftfield pop bliss
Thomas Fehlman – Streets of Blah ep - kompakt
3 tracks capture breadth of the Cologne sound, from dreamy to rocking
Studio 1 – Gold – studio 1
Classic minimal techno on Wolfgang Voigt's techno dub project
Dominik Eulberg – Die Rotbauchunken Vom Tegernsee - traum
Epic deep house sound. Breakthrough release for Eulberg
Gabriel Ananda – Süssholz - treibstoff
A huge summery anthem
Triple R - Friends - kompakt
Selection showcasing Cologne artists and their mates worldwide
Ozy - Imaginary Rockstar Syndrome - trapez
How minimal techno should be - deep, soulful and funky
Heib – Akrobat - auftrieb
Deep, tuneful techno in classic German style
Cio D’or – Hokus Pokus – treibstoff
Simple but effective. The feminine touch
Cosmic Sandwich – Cosmic Sandwich – MBF Ltd
Across 10 minutes this track twists and turns inside out
Jürgen Paape – So Weit Wie Noch Nie – kompakt
With its dreamy vocal smaple and disco groove, leftfield pop bliss
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