The robot bat­tle of the cen­tury!
Sci­ence fic­tion now!
You can par­tic­i­pate, too!
Rag­ing com­bat machines built by low-tech robot tin­ker­ers meet in the ulti­mate bat­tle at the fight­ing arena dur­ing the Krake Fes­ti­val 2014. The audi­ence bets which robot will be the last sur­vivor, and which ones will bleed all elec­trons out of their wires. The coolest fight­ing style and the most sophis­ti­cated way of dying are also judged and rewarded by a jury, which is recruited ad hoc at the spot. Come and wit­ness the bomb — astic show!

read more »

Tour­na­ment rules:
– Before the fight, each robot has to fit into a cube of 30 cm * 30 cm * 30 cm. Each robot must weight below 20 kilos
– Each robot has to con­tain its own power source. No 220V power cables.
– Any­thing is allowed which does not harm the audi­ence (e.g.: explo­sives, lasers, spray­ing acid is NOT ALLOWED)
– We highly encour­age the con­struc­tion of autonomous robots – nev­er­the­less, remote con­trolled robots are also accepted. We do not coor­di­nate RC car­rier fre­quen­cies amongst the teams, though. That means, you might have to expect inter­fer­ences with the trans­mit­ters of other teams, in case you build a remote con­trolled robot.
– Dead­line for all appli­ca­tions is Mon­day, 7th of July 2014.
– All appli­ca­tions have to be sent to
About the fight:
– The strug­gle is fol­low­ing the Knock Out-system.
– The robots fight against each other one by one, one pair at a time.
– Before the fight, the fight­ing robots are placed in the oppo­site cor­ners of the fight­ing arena.
– A count­down from ten ini­ti­ates each fight. When the count­down reaches three, the sup­port­ing team of each robot has to step back from their robot.
– The robots are not allowed to move before the count­down has reached zero. Each fight takes five min­utes in max­i­mum.
– If a robot does not move for thirty sec­onds, it is regarded as knocked out.
– If both robots are still mov­ing after five min­utes, the audi­ence decides about the win­ner.
– Three tro­phies will be given in the award cer­e­mony. Unfor­tu­nately none of them has a tan­gi­ble value. How­ever, you can take a piece of art to home with you that reminds you of your suc­cess!
– One for the ulti­mate fight­ing robot that won the tour­na­ment
– One for the robot with the coolest fight­ing style
– One for the robot with the most sophis­ti­cated way of dying


Flamethrower, Agile and Aggres­sive, Unpre­dictable Moves…


Gold Spreads Out…


Demdike Stare is a col­lab­o­ra­tion between Sean Canty and Miles Whit­taker, two child­hood friends from the North of Eng­land with vora­cious appetites
for record col­lect­ing. After years spent min­ing vinyl bins for source mate­r­ial, the pair started work­ing in earnest back in 2008, re-appropriating sounds they had spent a life­time cat­a­logu­ing into weird and immer­sive music of their own.

read more »

Demdike have so far pro­duced a trio of albums (Sym­bio­sis, Tryp­tych and Ele­men­tal) loosely themed around the occult and the rich her­itage of Library music, while a num­ber of intrigu­ing released over the last cou­ple of years have indi­cated that the project is headed in new and unex­pected directions.

In 2013 the first in an ongo­ing series of exploratory 12“s brought together under the ‘Test­press­ing’ ban­ner appeared on Mod­ern Love, finding
Demdike head­ing onto more intense, bru­tal ter­rain. Inspired by every­thing from Indus­trial music to Noise, Free Jazz to House, Techno and Con­crète — Demdike Stare have refused to rest on their lau­rels or become too com­fort­able with their sur­round­ings, some­thing that’s per­haps most evi­dent when eval­u­at­ing the sheer scale of the projects they have under­taken in the last 18 months. From live-scoring films for the BFI to more com­mer­cial sound­track work in Hol­ly­wood, from their ‘Con­cealed’ pro­duc­tions with Krakow’s Sin­foni­etta Cra­covia, to the eso­teric selec­tions of their ‘Before My Eyes’ ses­sions with Raime/BEB and the sear­ing late night sets any­one lucky enough to have seen them play will no doubt have imprinted on their minds — you just never know what mood you’ll find them in.



DMX Krew (also known as EDMX) is the record­ing name of Ed Upton. He has released 6 full albums on Aphex Twin’s label Rephlex Records and numer­ous singles/EPs for both Rephlex and his own Breakin’ Records. DMX Krew’s sound spans sev­eral elec­tronic music gen­res but had mostly been rooted in early elec­tro–pop/break­dance type music.


Felix Kubin is a com­poser, radio-playwright, cura­tor and media artist based in Ham­burg, Ger­many. He began record­ing and per­form­ing exper­i­men­tal elec­tronic pop music at the age of 12. In the 1990s he turned to elec­troa­coustic noise music and formed “Klangkrieg” with Tim Buhre. From 1992–1994 he co-organised artis­tic polit­i­cal inter­ven­tions with the Dada-communist Party KED and the “Liedertafel Mar­got Honecker” singing group, whose noto­ri­ous actions received wide media coverage.

read more »

In 1998 Kubin started to pro­duce Futur­is­tic pop music and launched the inde­pen­dent record label “Gagarin Records”. Over the past decade he has per­formed at eighty inter­na­tional music and media arts fes­ti­vals includ­ing Sonar, Club Trans­me­di­ale, Mutek, ISEA, Wien Mod­ern and Ars Electronica.

Since 2001, Kubin has been writ­ing and pro­duc­ing radio plays for national radio sta­tions WDR, BR, DR, SWF and Vienna’s ORF Kun­stra­dio. In 2011, he won the Prix Phonur­gia Nova with his radio play „Säugling, Duschkopf, Damen­schritte“. He has also com­posed music for film and the­atre pro­duc­tions, includ­ing work by Christoph Schlin­gen­sief, Mar­i­ola Bril­lowska, Robert Flor­czak andSchorsch Kamerun. His recent com­mis­sions include writ­ing com­po­si­tions for the cham­ber orches­tra “ensem­ble Inté­grales”. In March 2010, their col­lab­o­ra­tive live con­cert „Echohaus“ for 6 rooms, head­phones ensem­ble and elec­tron­ics was pre­miered at Fes­ti­val Maerz­Musik in Berlin.

Kubin has been invited to give work­shops and lec­tures at art insti­tu­tions and uni­ver­si­ties in Europe, the USA, Canada and South Amer­ica. His music is released on labels such as A-Musik, Deko­rder and Min­i­mal Wave.


Neil Land­strumm has released records on a wide vari­ety of elec­tronic musics’ finest labels over the last two decades and is one of the true inno­va­tors in techno. High­lights include 12″s and LP’s for Peace­frog, Tre­sor and Planet Mu records and has recently released his tenth career LP , ‘Dragon Under’ on the UK’s Sneaker Social Club label.

read more »

Other note wor­thy col­lab­o­ra­tions have been with Optimo’s JD Twitch as Dou­ble­heart and side projects with Cris­t­ian Vogel, Si Begg, Bill Young­man and Tobias Schmidt together as Sugar Exper­i­ment Sta­tion. Essen­tially a live hard­ware based artist since the begin­ning of his career, he has toured inter­na­tion­ally for the last 20 years with reg­u­lar events in Europe, Japan and China. Land­strumm also lived in New York for a num­ber of years but is now based back in Edin­burgh work­ing from his own Wit­ness Rooms stu­dio. A pio­neer of new elec­tronic styles with a strong sig­na­ture techno sound often copied and imi­tated, he has always been, and con­tin­ues to be, a unique elec­tronic artist.


Trans­forma are a video artist group known for their col­lab­o­ra­tive work with Appa­rat, Dieter Meier, Alex Banks and many oth­ers. They work with images of nat­ural mate­ri­als that they pro­duce and project in real time on stage. GRAETE is the result of Trans­forma’s con­tin­u­ing inves­ti­ga­tions of pure mate­ri­al­ity and archaic man­ual processes.

Mixed Media Per­for­mance / Dura­tion 45 min / Sound: Transforma

read more »

In the per­for­mance GRAETE a spe­cial appa­ra­tus, con­sist­ing of dif­fer­ent mechan­i­cal, image and sound equip­ment, is used to explore pro­to­types of sim­ple human tools and their appli­ca­tion. Dur­ing the per­for­mance, the dif­fer­en­ti­a­tion between the archaic objects and the mod­ern tech­no­log­i­cal setup dis­ap­pears. A stick or stone becomes recog­nis­able as a tool, as does a cam­era or a spotlight.

GRAETE is an imag­ined time-travel in a sequence of images. In the first image pre­his­toric humans sit in a cave using wooden sticks to stir a fire. In the last image a mod­ern man analy­ses the same fire­place with mod­ern machin­ery. The result­ing video– and sound-live-stream con­sists of actions per­formed in real­time on stage.

For the Krake Fes­ti­val 2014  Trans­forma will per­form with sup­port from Nackt with whom they have already col­lab­o­rated with on Apparat’s Krieg und Frieden Tour and for The Lion in Win­ter at Deutsches Theater.


A self-confessed Nois­i­cian, Paula Tem­ple has been pro­duc­ing and DJ/live per­for­mances for many years all over Europe at highly regarded fes­ti­vals and clubs. Over the years Paula’s sup­port­ers include Claude Young, the late John Peel, Tech­na­sia and Dave Clarke.

read more »

Since her debut release ‘The Speck of The Future’ in 2002 on techno van­guard Chris McCormack’s label Mate­ri­als, Paula’s tracks have appeared on Jeff Mill’s Exhi­bi­tion­ist (Chicago), Fed­er­a­tion of Drums (Frank­furt) and Dust Sci­ence (Sheffield). She ran her own under­ground radio show, Vir­tual Future Music, which won an award with BBC Radio One. Paula co-developed the inno­v­a­tive live per­for­mance midi con­troller MXF8, one of the first of its kind, which she took on the ‘Mind and Machine’ tour for three years.

In 2012 Paula returned to the stu­dio work­ing on new futur­is­tic techno as Paula Tem­ple, exper­i­men­tal elec­tron­ica as Frag­ile X, beau­ti­ful detroit-inspired techno as Jaguar Woman and hard-hitting elec­tro indie dance with Swiss elec­tronic music pro­ducer Ste­fanie B as Spank Protest.

Paula’s new mate­r­ial under her var­i­ous guises will be released through­out 2013 onwards, start­ing with the dark epic ‘Colonised’ on R&S Records in April.

Her lat­est brain­child Noise Man­i­festo is a music label and a plat­form for inno­v­a­tive elec­tronic music col­lab­o­ra­tions that do not fol­low the norms. Noise Manifesto’s vision are laid out in a pub­lic dec­la­ra­tion, The Noise Manifesto.


Pitch black techno war funk .There’s some­thing about the fear­some crunch of Ancient Meth­ods’ sounds that defies dry tech­ni­cal descrip­tion and demands that you go over the top, whether in talk­ing about it or mov­ing to it. Which isn’t to say they make head­bang­ing music — the “funk” part of their pitch black techno war funk is as impor­tant as any­thing, and their tracks have a good healthy dose of bump’n’grind run­ning through them, even if that grind­ing is as much angle-grinder as bogling.

read more »

The raw edges, thick-layered sound and gen­eral old-school soundsystem-in-an-industrial-building kick has leapt out amidst the min­i­mal ortho­doxy, cre­at­ing a mas­sive buzz over a few beau­ti­fully mar­bled pieces of vinyl with medieval etch­ings on the labels, and prompt­ing sug­ges­tions of a new indus­trial for­ward move­ment in the techno scene. (FUCT)

Trias & Baeks have known each other since mid 90ies when they started their res­i­dency at the Tre­sor Club Berlin. Their res­i­dency at this club leg­end lasted from 1996 until 2008. Baeks also took care of the famous head­quar­ters nights, where he offered numer­ous tal­ented new­comer djs the chance to play in the Tre­sor basement.

Trias is and was always look­ing for new music. His job at the highly acclaimed Hard­wax Berlin offered him the per­fect posi­tion to carry out his research.

They played together as a dj team from the end of the 90ies. Mainly at the tre­sor but also at other Berlin venues, and many gigs inside and out­side germany.

Inde­pen­dently from each other but also in co-operation they started to pro­duce tracks, with a great vari­ety in style and sound. In 2005 they teamed up their pro­duc­tion skills and equip­ment and founded Ancient Meth­ods. This led to the 1st release on their
own label with the same name in 2007. Their sound is straight techno far away from any Berlin Mitte min­i­mal bull­shit with the phys­i­cal impact of early 90ies techno music. Fur­ther releases fol­lowed slowly but con­stantly. In 2008 they met Karl O´Connor and decided to co-operate on some of their music. A first result of this co-operation was the “Ugan­dan Meth­ods” releases on the famous Down­wards label plus a track on their own label.

AM have beent3 tour­ing as a live pa since 2009 with gigs all over Europe with phe­nom­e­nal sucess. As a dj team they com­bine pow­er­ful techno with obscure drone sounds, exper­i­men­tal snip­pets and noisy Indus­trial sounds, pre­ferred on three decks + efx.


Can “Khan” Oral, born of Turkish-Finnish par­ents in Frankfurt/M works and lives as a music– and film-music pro­ducer, per­former, actor and visual artist in Berlin since 2002.

read more »

 Liv­ing in NYC from 1992–2002 he owned the elec­tronic record shop Tem­ple Records Soho/NYC, hosted down­town art events and par­ties, run three record labels and pro­duced and per­formed with a vari­ety of artists and projects such as: Cap­tain Comatose, Dia­manda Galas, Julee Cruise (Twin Peaks), Kid Congo Pow­ers (The Cramps/Nick Cave & The Bad Seeds) or Brigitte Fontaine with whom he won the Qwartz Award 2010 for best song in France.

Can “Khan” Oral hosted a monthly party at the Berlin techno insti­tu­tion Berghain and tours inter­na­tion­ally solo or with var­i­ous artists and projects. In 2012 Khan worked on an opera piece with Stereo Total, a the­atre pro­duc­tion for Hau3/Berlin called “Wir sind ein Bild aus der Zukunft”.

Cur­rently per­form­ing a Franz Kafka piece at Stadtthe­ater Bre­mer­haven directed by Amina Guss­ner. Exten­sive group and solo exhi­bi­tions in Ger­many and abroad dis­play­ing social works use­ing pho­tog­ra­phy and sound.

He pre­sented his photo-book/box-set “Angels Of Dis­guise” (Fan­tome Ver­lag 2013) at Import/Export Kassel’s documenta13.


Tran­sis­tors of Mercy ain’t afraid of no errors, for the very rea­son that their name already buries one: Actu­ally it should be “Tran­sis­tors Of No Mercy” to live up to how uncom­pro­mis­ingly the tran­sis­tor boys are.

read more »

TOMs’ unprece­dented live per­for­mances don’t shine at per­fec­tion but from
inspi­ra­tion — inspi­ra­tion from impro­vi­sa­tion. Not every­one can do so but a music col­lec­tive by peo­ple build­ing their ana­logue instru­ments on their own can… DIY is Tran­sis­tors of Mer­cys’ reli­gion, ambi­ent drone and dub scapes are the psalms.

Expect the unexpected!


Born in Fin­land in 1976, Aleksi Perälä has been an inde­pen­dent pro­ducer and a elec­tronic music com­poser for over 20 years. Aleksi reflects that grow­ing up in Fin­land has influ­enced his music deeply. He remem­bers that at age 3 he was fas­ci­nated by sound­scapes and echoes. At the age of 7 he com­menced 7 years of clas­si­cal piano lessons.

read more »

Dur­ing the sum­mer of 1988, 12 year old Aleksi first tuned in to the Finnish radio show Ocsid. This was a piv­otal point in his music ado­les­cence; it was then that he first heard Acid House. Look­ing back, Aleksi says that he watched the young rave scene with avid inter­est from the frus­trat­ingly remote dis­tance of a small town in Fin­land. Pre the lux­ury of today’s inter­net con­nec­tiv­ity, the rave scene was dif­fi­cult to access. And so, dur­ing that sum­mer of ’88, Aleksi bought his first syn­the­sizer to con­struct his own sounds. He now began to see and feel the infi­nite pos­si­bil­i­ties in music.

By 1993, Aleksi was now fully immersed in the pro­duc­tion of elec­tronic music using his own equip­ment. At 17 Aleksi left Fin­land for a year as an exchange stu­dent in Michi­gan, USA. It was at this impres­sion­able time that a music mile­stone event occurred; he was intro­duced to the music of Aphex Twin. Aleksi remem­bers how fate­ful it felt when he dis­cov­ered that Richard D. James had his own record label: Rephlex. Aleksi imme­di­ately felt a kin­ship; he had found his musi­cal family.

When he arrived back in Fin­land in 1994, Aleksi began send­ing demo tapes to Rephlex. By ’97 Aleksi had cus­tomized his Roland-D20. His sound was now more per­sonal; dis­torted yet friendly. Rephlex had now heard it and his per­se­ver­ance and ded­i­ca­tion paid off. The ener­getic and diverse debut album Lac­tavent was released under the pseu­do­nymOvuca in ’99. The album included the best of his demo tapes ’89-‘97. Aleksi then started play­ing gigs inter­na­tion­ally as Ovuca (a self invented word reflect­ing the self con­struc­tion of his music with­out the aid of a computer).

Aleksi’s musi­cal pro­gres­sion con­tin­ued over the next few years. He had upgraded to a Roland XP-80 work­sta­tion and an Akai MPC-2000 and was mak­ing hun­dreds of tracks. The out­come of his mind at this time is the huge 71 track album ‘Onclements’ released in 2000 as Ovuca.

Onclements was fol­lowed in 2000 by his rave megablast EP ‘King Stacey’.

The music had taken Aleksi’s radi­ant charge to a brand new king­dom. One morn­ing in Lon­don, Aleksi’s hung over friend said; “Oh it’s going to be another wasted Sun­day!” On the con­trary, Aleksi’s next album ‘Wasted Sun­day’ as Ovuca was released in 2001. To the lis­tener Wasted Sun­day can be con­cisely described as men­tally warm – it is Brain­dance[a term coined by Rephlex as the genre that encom­passes the best ele­ments of all gen­res]. Aleksi explains that at the end of the albumOvuca is eaten; he was now using his first lap­top and Astro­bot­nia was born.

In 2002 Parts 1,2 and 3 of Astro­bot­nia were released. Hav­ing spent 2 years adapt­ing to the increased flex­i­bil­ity of music com­po­si­tion via a com­puter, Astro­bot­nia is a col­lec­tion of bliss­ful galac­tic sym­phonies. Aleksi had cre­ated another emblem for Brain­dance. Rephlex sim­ply states via a front cover sticker; “Don’t leave earth with­out it!”

Dur­ing the Amer­i­can Rephlex Tour of 2002, Chris Jeffs and Aleksi took the deci­sion to col­lab­o­rate for an EP: Cylobot­nia. On lis­ten­ing, you can hear the Astro­botn­ian beats and an east­ern sound from Cylob’s use of ‘mood bells’.

After the 2003 UK Rephlex tour with Bog­dan Raczyn­ski, Aleksi moved to Lon­don to be nearer the action. It was a busy time for gigs and tours around Europe and Lon­don was a solid base.

In 2004 Aleksi moved back to Fin­land. He says that he made sure to take “a bit of Lon­don back with him” by start­ing a monthly Brain­dance club in Helsinki. Aleksi organ­ised and fea­tured other Rephlex artists such as DMX KrewCeep­hax Acid CrewCylob and Sound­mur­derer. Aleksi also arranged gigs in Fin­land for Aphex TwinDJ Rephlex Records and Luke Vib­ert.

Aleksi’s pas­sion for music was deep­en­ing. In 2005, Aleksi com­menced 3 years study of Music Tech­nol­ogy at Koulu­tuskeskus Sal­paus [a com­plex of fur­ther edu­ca­tion in Fin­land]. As part of the course Aleksi took sev­eral months work place­ment at the Uni­ver­sity of Helsinki, Depart­ment of Musi­col­ogy. For Aleksi this was both a unique and immensely reward­ing expe­ri­ence; he found him­self immersed in an ana­logue stu­dio con­tain­ing the pio­neer­ing elec­tronic music instru­ments built by Erkki Kuren­niemi in the ‘60s.

Aleksi says that these 3 years were fun­da­men­tal in allow­ing him to cre­ate a dif­fer­ent sound based on electro-acoustics and the physics of sound. With this Aleksi took the deci­sion to drop his pre­vi­ous pseu­do­nyms and he now uses his own name for releases.

Aleksi’s next album ‘Project V’ [‘07], his ‘Boom Blaster’ EP [’09] and his lat­est album ‘Men­tal Union’ [’09] are the reflec­tions of this. Boom Blaster con­tains his first Hertz fre­quency math­e­mat­ics and sine wave based track called ‘The Moon’, fol­lowed by sim­i­lar exper­i­ments inMen­tal Union. Aleksi sim­ply states that these releases are to him a rep­re­sen­ta­tion of the vivid and evoca­tive genre of Brain­dance. They are a nat­ural pro­gres­sion from the famil­iar sounds of Ovuca and Astro­bot­nia.



The Nest was estab­lished in 2011. Com­pris­ing of Christoph Clöser (“Bohren & der Club of Gore”), Tycho Schot­telius (“Desmond Denker”), Thomas Mah­moud and Ger­ald Mandl (both “Tannhäuser Ster­ben & das Tod”), they have cre­ated their own blend of electro-acoustic, jazz and noise.

read more »

Their debut album “Music for Dri­vers” (Den­o­vali) has been described as: “Highly min­i­mal and with due atten­tion to space and atmos­phere, ‘Music For Dri­vers’ is poised with a sharp ten­sion between con­trast­ing organic and mechan­i­cal sound sources; field record­ings lend an unpre­dictabil­ity and sense of atmos­pheric breadth while their patiently attuned play­ing paints the space between with ethe­real, oth­er­worldly strokes of syn­the­sizer, sax­o­phone and elec­tron­ics, con­stantly mor­ph­ing between moods which are never quite just dark and light, maybe best described in terms of psy­che­delic, hal­lu­ci­na­tory light shows.” (Boomkat)

With the idea to trans­form this mate­r­ial even fur­ther, the band has self-released a remix-cassette album (“Music from Co-Drivers”), fea­tur­ing a care­fully selected bunch of expe­ri­enced col­lab­o­ra­tors, musi­cally rang­ing from Break­core, Dub­step, to New Wave and Exper­i­men­tal Music.

Whilst their debut album was dri­ven by the clar­i­fi­ca­tion of areas and fields, the new album „Say­ween­joy“ — to be released in early 2014 — focusses on the more melodic and rhyt­mi­cal struc­tures of The Nest’s very own musi­cal language.


Svarte Greiner is the one man project of Erik K. Skod­vin from Lange­sund, Nor­way. He also records with Otto Tot­land as Deaf Cen­ter. While the duo cre­ates dusty grey sound­scapes in a sur­re­al­is­tic world of sounds not far from that of David Lynch & Angelo Badalamenti.

read more »

Svarte Greiner is fur­ther explo­ration into a more dark, mys­te­ri­ous & dis­turbed uni­verse. Draw­ing inspi­ra­tions from artists such as Earth, Vol­cano the bear, David Dar­ling & Death­prod, the out­put is draped in a Lynchian mys­ti­cism & hor­ror film cin­e­mat­ics. Since his debut album, Skod­vin started to build up a dis­tinc­tive live tech­nique using an unusual col­lec­tion of bro­ken glove pup­pets and potion­filled med­i­cine bottles.

Erik K. Skod­vin is also the founder of the Mias­mah record label and graphic design stu­dio. Mias­mah has released over six­teen albums since it started in 2006, both CDs and vinyl, releas­ing critically-acclaimed albums by both estab­lished and up-and-coming artists and devel­op­ing a cohe­sive aes­thetic all on it’s own.

Since his release of the debut album “knive” in 2006, and the fol­low up “Kappe” in 2009 (both Type records) he has released a series of 12″´s, cas­settes and lim­ited edi­tion releases. His lat­est solo album “Pen­pals For­ever (and ever)” came out on Dig­i­talis in 2010.

Svarte Greiner has per­formed con­tin­u­ally on fes­ti­vals such as Club Trans­me­di­ale 2011, Unsound Fes­ti­val, Krakow & New York, Node, Inter­ferenze and toured through out US, UK and Europe. He also toured with Fever Ray dur­ing their Scan­di­na­vian tour in 2009.


Sofus Fors­berg [DK] is an elec­tronic com­poser, per­former, musi­cian and DJ who has played around the world since ’98, pro­vid­ing to the world the beau­ti­ful emo­tional melodies, intri­cate beats, and superb production.

read more »

With only a few releases on Jenka Music and Mind­waves Music, his pas­sion for play­ing live has been one of the dri­ving forces in the spread of the spe­cial Dan­ish elec­tron­ica, and inspired many with his unique sound.
The fresh release FM Volta shows his love for the machines, as his weapon of choice these days is the mod­u­lar syn­the­sizer and some drum machines, which he tweaks and twid­dles in his Berlin-based stu­dio.
His whole life is immersed in music as he is fur­ther­more mas­ter­ing records and teach­ing music at the Dan­ish uni­ver­sity.
Expe­ri­enc­ing Sofus Fors­berg live is very spe­cial, not only in terms of the music itself, but also regard­ing the fact that this man is alive in front of his machines – alive and exchang­ing energy with the – just as alive – instru­ment in front of him. This is an intense expe­ri­ence that one should not miss.


Since his debut in 2003, on the leg­endary UK label Worm Inter­face, Karsten Pflum has been a pro­filic left­field pro­ducer and live per­former. Well crafter and full of soul, his tunes are a fresh and curi­ous take on the elec­tronic dance music genre.

read more »

The sound of heavy bass dri­ven elec­tro, fran­tic jun­gle, and crys­tal clear ambi­ent, always with the haunt­ing and charm­ing Pflum sound — poignant and sophis­ti­cated. The out­put is often full of ref­er­ences to gen­res, gear or tech­niques — and the under­ly­ing sto­ry­line dis­plays a love for clas­sic ele­ments from 80’s sci-fi, Motown funk music, and BBC wildlife documentaries.

Over the years Karsten Pflum has become a dri­ving force of the North Euro­pean elec­tronic music scene, hav­ing released a good num­ber of albums and Ep’s, played on numer­ous fes­ti­vals, organ­ised and per­formed live shows, taught music pro­duc­tion and aes­thet­ics, and show­cas­ing and releas­ing music of like­minded artists.

His tunes have been air-played on a diverse num­ber of radio pro­grams, among these BBC’s Mary Anne Hobbs’ the Breeze­block, Carl Hyde of The Under­world, Rob Booth’s Elec­tronic Explo­rations, and by the deceased DJ leg­end John Peel (R.I.P.)

As a live per­former Karsten Pflum offers an engag­ing insight to his play­ful and musi­cal approach, with his highly dopamin filled and riv­et­ing tunes — aimed for the feet and chest.


Dead Fader’s artis­tic voice is con­fi­dent and full of clar­ity. Bor­row­ing ele­ments from a vast array of gen­res, pro­ducer John Cohen recon­structs real­ity, the result an exhil­a­rat­ing mix of the famil­iar and the for­bid­den. It is this fusion of ele­ments that is the glue hold­ing together the two offer­ings, simul­ta­ne­ously com­ple­men­tary and con­trast­ing in style.

read more »

In the wake of 2012’s Work it, No, Dead Fader returns with not one, but two full length releases. The dual release for­mat cel­e­brates the two dis­tinct strains of Cohen’s output.

Most rec­og­nized for his sonic extrem­ity, pre­vi­ous Dead Fader work has focused on heavy dis­tor­tion, meld­ing noise with infec­tious dance-floor sen­si­bil­ity. With Scorched, this world col­lapses in on itself. Stripped back tex­tures expose raw extrem­ity and breadth. The album teeters on it’s ful­crum, maxed into the red, rhythm push­ing and pulling to a fine-tuned ten­sion and solidarity.

Blood For­est redresses the bal­ance, intro­duc­ing bit­ter­sweet tex­tures and lush detuned synth melodies. Neo­clas­si­cal influ­ences are frag­mented and rein­vented, sprin­kled with ele­ments of elec­tronic clas­sics such as Boards of Canada. Cohen’s mas­ter­ful bat­tle between chaos and con­trol, ten­sion and release pro­vokes all the right emo­tional responses, with­out giv­ing it away too easily.


Pos­i­tive Cen­tre is the dark ambi­ent project of Berlin based Artist, Mike Jef­ford. Using a col­lec­tion of ana­log syn­the­siz­ers, effects proces­sors and tape machines: Pos­i­tive Cen­tre is an explo­ration into the pos­si­bil­i­ties of depth, width and tex­ture repro­duc­tion through loud speakers.

read more »

 Being influ­enced by the GRM (Groupe de Recherches Musi­cales) School Mas­ters: Pierre Henry and Ian­nis Xenakis as well as more con­tem­po­rary manip­u­la­tors of sound (from King Tubby and Sci­en­tist to Marsen Jules and Aphex Twin). Pos­i­tive Cen­tre takes the explo­ration of sound repro­duc­tion and audio col­lage into rhyth­mic and hyp­notic spi­rals of rever­ber­ated walls of sound, with an empha­sis on sub­tle changes in rep­e­ti­tion and low fre­quency sound.

In Sep­tem­ber 2013, the first Pos­i­tive Cen­tre record was released on Sigha’s Our Cir­cula Sound imprint. Fea­tur­ing six tracks of slowed and swung techno under the title ‘An Assem­bly’, which were all mas­tered by Matt Colton at Alchemy Stu­dios. Pos­i­tive Cen­tre is set to return to Our Cir­cula Sound with a four track EP of darker, more anx­ious sounds enti­tled ‘Hid­ing Knives’ in Jan­u­ary 2014.


One of the true souls of Ger­man techno, Alex Cor­tex has left quite a mark on the scene since his first release back in 1996. Spot­ted dur­ing his first live-set in a rave in 1996, Alex was imme­di­ately scooped up by Source records. His first Tubed EP gained sup­port of the likes of Sven Väth at HR3 Club­night, DJ Hell at May­day — DJ Woody even played it in the early days of the Love Parade.

read more »

 In 1997, he began play­ing as a DJ and live-act at the hd800 club in Mannheim. Hd800 had very high musi­cal stan­dards and gave Alex a chance to exper­i­ment with a more open-minded crowd that freed him of any constraints.

It wasn’t long before peo­ple really started to take notice. Alex quickly began tour­ing reg­u­larly and played many famous venues such as Ultra­schall, Tre­sor, Golden Pudel, WMF, U-Club, Strasse E, Nachtleben, Voxxx, and many more. Soon, the inter­na­tional book­ings began com­ing in. He played in France (in Bato­far), Spain (in Rachdingue), Switzer­land (Rohstof­flager) and in Mex­ico to name but a few.

Next came releases on Kan­zler­amt and his first album Laconic, also on Source Records which was awarded De-Bug album of the month and received pos­i­tive reviews everywhere.

Untir­ing, Alex con­tin­ued to go from strength to strength. Soon, he had a series of releases on labels such as Klang Elek­tronik, Baby Ford’s PAL SL label and Out to Lunch. In 2003 came his sec­ond album “Inward Ctrl” came out on Delsin’s label Ann Aimee.

It was in the same year that the so-called “Minimal-Techno” sound exploded, tak­ing over clubs across the globe. Just as things were going so well for Alex, he began to fall on hard times. The evo­lu­tion of the min­i­mal sound into the main­stream was com­pletely opposed to any­thing he had worked for and believed in.

Alex found it increas­ingly hard to get gigs, to get releases, and to get heard in gen­eral. Frus­trated, he started to con­cen­trate on music out­side of club techno, work­ing on music for the­atre, movies and art installations…

Dur­ing this time, he co-founded the now widely-known net­la­bel Path­mu­sick. Alex and Decad­nids worked together to show­case ambi­ent and drone-music, a project he con­tin­ued with until 2010. Alex began to get back into the club sound in 2007. Releases began to come, firstly on Platzhirsch and Kahlwild. Next, Alex began work­ing closely with Pomelo Records where he released his third album “Kihon” in 2011. He was back. 2011 saw his high­est pro­duc­tiv­ity yet, with first two releases on Killekill, one as his duo with Lopazz, Bad Cop Bad Cop.

He also began explor­ing dif­fer­ent sounds under new pseu­do­nyms. He released as LD Nero on Baby Ford’s Tre­lik, PAL SL labels and on Pomelo. LD Nero fea­tures a more com­pat­i­ble sound between house and techno. Once again, this got back­ing from many famous names, so much so that he’s already busy work­ing on more mate­r­ial in order to sat­isfy release requests. He also released as Auxon on Shad­dock Records and has more mate­r­ial to come under this guise.

Aside from work­ing on mate­r­ial for my var­i­ous pseu­do­nyms and col­labs, Alex also began work­ing on movie sound­tracks, design­ing his own instru­ments and gen­er­ally updat­ing his equip­ment and sound.

Right now, Alex is work­ing on his fourth album, on a num­ber of EPs and music for a full-length film. Watch out for upcom­ing EPs on Pomelo, Killekill, Skudge, and Tre­lik. A pur­veyor of boundary-smashing techno, bleeps, static-shocks and warm crunchy beats, Alex is most cer­tainly not an act to be missed!


If you believed to be already advanced up to the core belong­ing the range of deep research – again and again schol­ars like “Fre­und der Fam­i­lie” come around to show how deep you can bore. The capa­bil­ity to col­lect sam­ples from upper lay­ers thereby is a spe­cial characteristic.

read more »

Behind the “Fre­und der Fam­i­lie” includ­ing house and yard stand Klaus Rakete and Mirko Hunger who orig­i­nally drew their inspi­ra­tion from dif­fer­ent genre pref­er­ences. Over­pow­ered by the musi­cial chem­istry of the

togeth­er­ness the two decided, free fol­low­ing the slo­gan “two chairs one opin­ion”, to divide their favour with each other. Since 2007 house and yard (label & project) are man­aged at the same address.

Inde­pen­dent from pre­fab­ri­cated sound draw­ers the duo stud­ies both label and pro­duc­tion way in a dif­fer­ent approach belong­ing the power of Deep­ness. The means for colour­ing the sound orig­i­nate from a cos­mos of felic­i­tous­ness, spir­i­tu­al­ity, dawn­ing light and melan­cholic pos­i­tivism. The own poly­morph prepa­ra­tions turn out with all kinds of decon­struc­tions and fray­ing as ges­tures of con­tem­pla­tion with alter­na­tively end­less echo craters, sub­stan­tial delay unload­ings, swing­ing bass fig­ures, melodic out­lines, tradition-conscious creep rhythms and tech­noid low pressure.

Every­thing seems pos­si­ble for the inves­ti­ga­tion of gen­uine heart music for body and soul. The listener/dancer dives into a per­cep­tion of dis­em­bod­ied music made of orna­men­ta­tions of the organic, led by an order of the things with­out borders.


Plas­ter is an elec­tronic music project that was born in Rome in 2008, orig­i­nally com­pris­ing of Gian­clau­dio Hashem Moniri and Giuseppe Carlini.

read more »

Their music is mostly char­ac­ter­ized by a dark atti­tude, and a direc­tion which aims to mix ambi­ent music, deep beats and sharp sounds; with a tech­nique that always bal­ances the deep­ness of the sound and where every sound can be inter­preted as a story in itself.

Cur­rently the project is com­prised of Gian­clau­dio H. Moniri while Giuseppe is tak­ing a per­sonal break.


Pina is a musi­cal project from Pedro Pina (El Prat de Llo­bre­gat) where impro­vi­sa­tion and the search of inten­tional error are the main cre­ative engines. Abus­ing from many kind of tech­nolo­gies, com­po­si­tions starts with some ran­dom adjust­ments and leav­ing the machines in action.

read more »

Human fac­tor only appears when it’s time to decide if results are quite enough. Machines are an active part of the cre­ative process. The final result, nor­mally min­i­mal­ist and repet­i­tive, recy­cles from any exist­ing style of music. As real-time cre­ation and manip­u­la­tion are key fac­tors on Pina’s uni­verse is on stage where the party starts. With visu­als that react and inter­act with the music in real-time, the final result is an unique and unre­peat­able expe­ri­ence on every per­for­mance. On fes­ti­vals like MiRA (Barcelona) or Tren­de­len­burg (Gijón) where the visu­als is as impor­tant as the music, where the immer­sive fac­tor of Pina’s per­for­mance arrive to the full dimen­sion.
After sev­eral projects since 1998 as Sloan, flirt­ing with drum & bass and elec­tro or inves­ti­gat­ing the pos­si­bil­i­ties that offers the com­bi­na­tion of pop and elec­tron­ics on the band Fire, is on mid 2007 where first tracks appears as Pina with the result of the launch of his first album, B/N, released on Medusa Music by late 2008.
On this first album appear some of the key ele­ments of Pina’s music: Min­i­mal­ist dis­torted beats, repet­i­tive and hyp­notic in com­bi­na­tion with high and low fre­quency buzz. B/N was release exclu­sively in dig­i­tal for­mat and now its avail­able as free down­load at pina​.band​camp​.com
By mid 2011 appears his sec­ond album, Onda Corta, released on Lap­sus Records. Avail­able in vinyl and dig­i­tal for­mat starts where B/N fin­ished, increas­ing the BPMs, giv­ing a more men­tal and dance­able result. Onda Corta had great reviews from pub­lic and press, reach­ing top 10 of the year on sev­eral musi­cal blogs like mix​side​.com.
Hum, released by Lap­sus records on June 2013, is his third album and the nat­ural evo­lu­tion from Onda Corta, increas­ing one more time the BPMs and giv­ing more rel­e­vance to evolv­ing tex­tures and drones, get­ting a more club friendly result.

Pina is one of the artists of col­lab­o­ra­tion between Antic Teatre Barcelona’s B2B Fes­ti­val


Behind the turnta­bles or live acts Spear is one of the new artists on the newest elec­tronic music. Adrià Ponsa (Ter­rassa, Barcelona) is, despite his appar­ent invis­i­bil­ity, one of the most impor­tant artists of the Span­ish scene. Ousit­der of the com­mer­cial paths, true polit­i­cal con­scious­ness about music and its rela­tion to soci­eties, Spear rep­re­sents a log­i­cal evo­lu­tion of Techno music. Influ­enced by the pri­mary U.S.A and British techno of twenty years ago, Spear makes straight for­ward and effec­tive sound, the cold­est and deep­est elec­tronic music.

read more »

His labels In Believ­ers We Trust  and The Wild Divi­sion are essen­tial to under­stand the present Span­ish scene. Some­times far from the clubs, he is eas­ier to find shar­ing his time in musi­cal edu­ca­tional pro­grams for young peo­ple at his hometown.

Spear sounds with the sim­plic­ity of who knows what to do in every detail, with the min­i­mum ele­ments: effec­tive and really rare. A newly shaded pitch of the Techno-music present. He reminds the present indus­trial Techno revival mixed with re-invented Brain­dance, some­times sci-fi melody evo­lu­tions and con­tun­dent rhythm struc­tures achiev­ing unex­pected results.

Spear is one of the artists of col­lab­o­ra­tion between Antic Teatre Barcelona’s B2B Fes­ti­val.


Despite being one of the main expo­nents of the elec­tro cre­ated here (he is one of the founders of Elec­tro­club), Spy DJ is an open man with purist views and genes. He is capa­ble of enjoy­ing, and mak­ing other peo­ple enjoy, many other gen­res, espe­cially in his ener­getic techno sessions.

read more »

The thing is, there is some­thing that makes this man, steeped in elec­tro since he was very young, stand out, and his ses­sions have some­thing very spe­cial and dif­fer­ent you can’t put your fin­ger on. We sus­pect he must have an infal­li­ble com­bi­na­tion: elec­tro in his heart and techno in his hands. (*Text from Moog Club Barcelona)

There is a man who fights for putting the Barcelona elec­tro move­ment in a good place since year 2001. Since then he don’t stop to work for his pas­sion. Play­ing in lots of clubs, orga­niz­ing par­ties and mak­ing music. His col­lec­tive, Elec­tro­club, has trans­formed in a record label in 2014. The Ban­dit a.k.a. Spy Dj is also pro­duc­ing elec­tro sounds.

Spy Dj is one of the artists of col­lab­o­ra­tion between Antic Teatre Barcelona’s B2B Fes­ti­val.


Pernille Krog Mogensen is a well known and respected fig­ure in the Dan­ish elec­tronic music scene. As head of music at the Copenhagen-based fes­ti­val for elec­tronic music, Strøm, her enthu­si­as­tic sup­port of under­ground elec­tronic music has helped expand the influ­ence of Dan­ish music cul­ture into new territory.

read more »

Besides her involve­ment with Strøm, Pernille is also work­ing with var­i­ous projects, all cen­tered around elec­tronic music. She cur­rently resides in Berlin.


Swarm Intel­li­gence is best known for his bass-heavy dis­torted breaks, gain­ing sup­port from the likes of Sur­geon, DJ Ursa, War­lock, DVNT and Mike Stern to name just a few.

read more »

He has released on Invis­i­ble Agent, Sta­sis Records, Acroplane, Ad Noiseam and Acre Record­ings and plays reg­u­larly around Berlin, both as Swarm Intel­li­gence and with Monolog under their Dia­siva guise. He also runs Stalker Radio with Rory St John on Future Music.


What hap­pens when you com­bine a kazoo, a crushed water bot­tle, and a plethora of uncon­ven­tional beats?

read more »

 Dr. Nojoke is not just a pro­ducer, he’s a per­former – his live sets con­tin­u­ally bring new and unique sounds to the table, a com­bi­na­tion of field-recordings, self-made sounds, and highly con­cep­tual pro­duc­tion that rede­fine the way we under­stand elec­tronic music. A Berlin native and leader in direc­tional min­i­mal techno (or “cli­kno” as he describes it), Dr. Nojoke is a mas­ter of rethink­ing ordi­nary musi­cal­ity and procur­ing new uses for the everyday.


Start­ing out at the age of 15, and releas­ing his first record just three years later (together with Aon FluX and Hen­rik Lars­son as “Head­room”), Patrik isn’t only one of Sweden’s youngest house and techno pro­duc­ers to earn the title of vet­eran, he’s prob­a­bly the most deserv­ing with over 100 dis­cur­sive vinyl releases stacked in his favour.

read more »

 Over the course of the late 90s and first half the mil­len­nium, Head­room and Patrik’s solo careers pro­gressed in tan­dem, chalk­ing up sig­nif­i­cant releases for labels like Synewave NY, Drum­code, and Planet Rhythm along the way. After eight years roam­ing techno’s harder perime­ters, in 2005 he embarked on deeper min­i­mal and house tra­jec­to­ries as Agaric, launch­ing the We Are umbrella to house them all. More fam­ily than ros­ter, and more col­lec­tive than record label, We Are has since blos­somed into an eclec­tic club-oriented sta­ble, with the intro­duc­tion of the 10” coloured vinyl series draw­ing a rich spread of artists. Out­side of We Are, Agaric tracks have landed on the likes of Kontra-Musik, Raum…musik and liebe*detail in the run up to his long-awaited debut album, ‘Who Made Up The Rules’, released in 2011 through Ovum. 2013 sees Patrik come full cir­cle, revert­ing back to his own name to probe anew the clas­sic techno avenues that first inspired it all.


Sad but true.


Born in Moers, now Berlin res­i­dent Richard Zepeza­uer is a well known and respected part oft he Berlin Club­scene since nearly a decade. His label n s y d e got fea­tured in the lat­est Groove Mag­a­zin and cur­rently gets world­wide probs for its strict diver­sity and quality.

read more »

His range of DJ sets are impres­sive. From play­ing at Berghain/Panorama Bar to such spe­cial­ties like his col­lab­o­ra­tion work with Mike Huck­aby for their “Sun Ra Spe­cial Jazz Nights“

There is another exper­i­men­tal part of his work as a DJ which is for exam­ple his col­lab­o­ra­tion for the  opera project “Wag­ner 2013. Kün­stler­po­si­tio­nen: Das Heer“ (Wag­ner 2013. Artists ‘Per­spec­tives: The army) with Berlin’s well-respected Akademie der Künste.

He inte­grated the art of DJing with elec­tronic tonal shap­ing, within the musi­cal rein­ter­pre­ta­tion and remix of Wagner’s opera Das Rheingold.

Steady coop­er­a­tions with var­i­ous renowned 20th cen­tury clas­sics ensem­bles like a forth­com­ing project with the Berlin Esem­ble Adapter are tak­ing place ever since, with the aim to pro­mote an open minded con­cept of DJing, while explor­ing the pos­si­bil­i­ties of tonal fusion from the elec­tronic music scene in com­bi­na­tion with clas­si­cal pieces and clas­si­cal sound designs.

He is con­stantly play­ing with con­tent and con­text through unheard com­bi­na­tions of sounds, while using turnta­bles as an instru­ment and see­ing Djing as an avant­gardis­tic artform.



Sk’p is the new alias of Bel­gian elec­tronic music artist Skip who is known for his hyper, play­ful, chiptune/drill’n’bass style and has per­formed along side brain­dance / IDM heroes such as Ceep­hax, Venet­ian Snares, and DMX Krew.

read more »

With his first release of this new project Sk’p departs from his col­or­ful happy place into darker, more intro­spec­tive ter­ri­tory, reveal­ing a whole new side of him that we haven’t yet heard. Ten-track long player “Unmute Your Jour­ney“ for instance leads us through a fas­ci­nat­ing micro-world where we hear the sounds of amoe­bas and nano spores mak­ing an epic trek across vast micro­bial land­scapes that, in ret­ro­spect, could fit on the tip of your fin­ger. He has a way of mak­ing small things sound big, turn­ing tiny micro sam­ples, syn­the­sized pops, clicks, and droplets into intrigu­ing com­plex beats and tex­tures, and bub­bling up through these expertly woven rhythms are beau­ti­ful, swelling melodies from light and pleas­ant to heavy and dra­matic. It’s an album of polaric con­trast that stays true to its name and takes lis­ten­ers on an up and down jour­ney through sonic hills, val­leys, deserts and forests.



Log­i­cal Dis­or­der is the nick­name that Javier Bar­rero uses to throw away his feel­ings of para­noia, total­i­tar­i­an­ism and resis­tance to hope­less­ness. Edu­cated in the net­la­bel scene and far away from the main­stream, he prac­tices a sort of dodgy indus­trial IDM dec­o­rated with timid melodies.

read more »

His view on music is double-faced. One is con­veyed by a vis­i­ble light spec­trum that looks for tran­quil­lity. The other proves to be more com­plex and it unfolds as a mix­ture of indus­trial machin­ery and tor­tured and declin­ing mind.


mis­saw is The Centrifuge’s founder, label cura­tor and res­i­dent DJ. His reper­toire spans the cutting-edge musi­cal spec­trum, from ambi­ence and drone to elec­tro, acid and drill & bass. He is equally at home in con­cert hall and club con­di­tions, min­ing his well-travelled col­lec­tion of clas­sics, obscu­ri­ties, forth­com­ing label mate­r­ial and exclu­sive music from the artists and labels The Cen­trifuge is affil­i­ated with.



Born in 1979 in a could city on the north of Italy. On the early 90s’ thanks to a friend , he starts to dis­cover the world of elec­tronic music, and learned the art of the turnta­bles. Grew up like a dj with inno­v­a­tive sounds like: Zen Para­dox, The future Sound of Lon­don, Sound Sys­tem, Spi­ral Tribe and many more. In 1996, leaves his city and untill now he split between two con­ti­nents, USA and Europe.


Elis­a­beth hails from what was once right­fully coined the “Berlin Under­ground Scene”, which cen­tered around semi-legal min­i­mal techno raves and nev­erend­ing after­hours fueled by slowed-down deep house music.

read more »

Mean­while, her musi­cal inter­ests and influ­ences have been broad­en­ing way beyond the (some­what generic) Berlin Sound, towards all things Dance Music and its ances­tors, from House to Garage, Disco, Bro­ken Beats, Hiphop, Funk and Soul — all of which con­jured into a straight-forward view on what makes a great DJ: brav­ery, an open mind, calm hands, the rare abil­ity to read a crowd — and then make peo­ple com­pletely lose their sh*t to music they didn’t even know they could actu­ally dance to.


Berlin elec­tro afi­cionado and Bass4bots head hon­cho HYCON has had an active part in the Euro­pean elec­tro scene for quite some time. Known for his eclec­tic bass-driven DJ sets and fas­ci­na­tion for robots, this elec­tro purist is sure to deliver the goods. Whether it’s on one of his radio shows or on the dance floor, HYCON brings forward-thinking music for our times.


Hail­ing from the depths of the Mex­i­can under­ground, Vale­ria and Jerga have been play­ing records and pro­duc­ing music for the past 20 years, mov­ing within diverse styles, get­ting a fix from artis­tic free­dom, tak­ing jour­neys deep and back into other galax­ies, run­ning a cou­ple of labels (Blaq Records / Pan­ta­muzik) that have been a major out­put for true under­ground Mex­i­can artists.


The unit »ODD« is a very witty japan-sytle tech­no­cratic retro­clash project by Daisuke PAK based in Berlin. Kind of odd, eh? Is often the first com­ment, when some­body hears the music of ODD [oh de: de:].

read more »

This is hardly sur­spris­ing because Daisuke Pak is pro­duc­ing elab­o­rated odd elec­tronic dance music for more than ten years. In 1995, he bought his first sam­pler and formed with his high school friends an impro­vis­ing per­for­mance band named Oil Fish. How­ever, their per­for­mances were a lit­tle bit too extreme for the peo­ple of his home­town — Hiroshima and it con­se­quently became more and more dif­fi­cult to play there.

So he moved to Himeji in 1997, and there he started his new career as ODD. After two years of his activ­i­ties as ODD in Japan, he has moved to Europe, play­ing live gigs in Paris. In 2001, Daisuke PAK has finally trans­ferred his base of musi­cal activ­i­ties to Berlin, and since then he has played in Berlin clubs at Maria, Tore­sor, Cafe Moskau, Bastard.

He also made a lot of live per­for­mances in Ger­many, France, Aus­tria, Hol­land, Swe­den, Denmark,Czech, Poland and Japan. In 2004, ODD joined Clubtrancemediale’04 in Berlin (Their song was on the com­pi­la­tion CD), Fusion Fes­ti­val ’04, Con­tact Europe VJ Fes­ti­val ’04 (Ger­many), Tokyo style in Stock­holm (Swe­den) and LE BARATHON #3 (France).

In 2007, first EP “Kwai Raku EP” launched from TOKTOK’s label “V-Records”. In sum­mer of 2011, Releace music video “Hui Hui ep”, col­llnbo­late with danceteam “Mei­sai”. Today, the name »ODD« stands for an inno­v­a­tive and witty electro-sound with live japan­ese singing.

ODD is pro­duc­ing very unique sounds and rhythms, which are made by manip­u­lat­ing the sound of the Japan­ese lan­guage. They are deeply fas­ci­nat­ing to the audi­ence. Their lyrics are full of irony, deal­ing with everyday-life phe­nom­ena from japan­ese cul­ture and soci­ety. When you think about the mean­ing of their lyrics, you stop dancing.

ODD reminds us of the good late 80ies and early 90ies, when videogames and game­boys were re-forming musi­cal aes­thet­ics and when videogame­sound was a part of every­day life. Their music is a mix­ture of the sound of urban real­ity and videogames.

ODD are, of course, col­lab­o­rat­ing with other artists. For exam­ple, remix for Tok­tok, Noisy Pig and­Tor­pedo Boyz, Audio Visual Live act with Vj Chuuu as “ODD + VJ Chuuu”, as Rap­per for Tor­pedo Boyz. Daisuke PAK is also work­ing as a DJ, play­ing elec­tro and techno music, and orga­nizes club events called “Elec­tric Masaru”.


Sarah Farina quickly invaded all cor­ners of Berlin’s bass dri­ven clubs over the last years. With influ­ences rang­ing from Mark Pritchard, Tim­ba­land, Aphex Twin and J Dilla, she’s quickly forged a rep­u­ta­tion through­out Europe’s under­ground bass scene by fill­ing her sets and mixes with an unpre­dictable blend of UKG, Jun­gle, Juke, Hip Hop at the same time her sets are dri­ven for­ward through futur­is­tic Break­beats and intense Basslines.

read more »

In 2012 Sarah Farina became part of the ‘Through My Speak­ers’ col­lec­tive. Over the last years she sup­ported some of the most respected of her bass music con­tem­po­raries, both locally and abroad, play­ing on Rinse.fms Hyper­dub show with Kode9 and Scratcha DVA in Lon­don, DJ’d with Dis­clo­sure and Cin­na­man at Apple­sap Ams­ter­dam and played with Lunice, DJ Rashad, Loe­fah and many more. A dream became true in Octo­ber 2013 when she was asked to play along one of her favorite Drum and Bass pro­duc­ers Dar­ren White alias dBridge at the decen­nial anniver­sary of Exit Records along­side Om Unit and SP:MC at Gretchen Berlin. Her con­tri­bu­tion to Boiler Room a while back was well recieved by BR’s rather crit­i­cal audience.


A tough-looking guy with a fine sense for elec­tronic music. Raf­fi­nesse meets power; Hanno is inter­ested in every­thing; maybe not in col­lect­ing Smurf-figures or satin­shirts, but he likes to get his inspi­ra­tion from trav­el­ing the earth, pho­tog­ra­phy, meet­ing peo­ple, pol­i­tics, all kinds of arts and aes­thet­ics, even of turk­ish wrestling… Sound­wise he locates him­self some­where between wonky Techno, House, trashy and clean Elec­tro, Break­beats, Industrial/Metal, Death Metal, Dub­step, Rebetico, Gypsy Music and so on; which seems to be a place to be taken which can be qute
inter­est­ing for the listeners.

read more »

He started Djing in 1996 after play­ing the gui­tar in an indus­trial band; tak­ing the leap from there to the club shows his ver­sa­til­lity and his open mind for music – as long as it holds some­thing spe­cial for him, he has an open ear for it. He doesn’t want to bring the „newest shit” all the time – this would be nar­row­ing he thinks; why always play the few really good new tracks when you can hark back on a huge amount of excel­lent releases of the past thirty years, which con­tain so many work­pieces that peo­ple do and don’t know? It’s all about the selec­tion of the Dj and about how you „bring” it to the audi­ence; and Hanno tries to bring every­thing in electronic-related music together to a stir­ring whole, to that peo­ple in the club can be going crazy on – he likes to com­pare Djing with hav­ing a ever and ever again inter­est­ing sex­ual being-together of the Dj and the crowd; you got to be imag­i­na­tive to be a good lover…
With his pro­duc­tions – even a gold record among them for his appearence on a release of „Zweiraum­wohung” – he tries to keep it func­tion­able; club­sounds live on the bass­groove beyond them, on the way the sounds and the groove is put together; his work is, even when quite hard stuff, is always pre­cise and reflected.
When Djing as well as when pro­duc­ing, sur­pris­ing some­body is more impor­tant to him than giv­ing a promise for this or that; this makes Hanno an always fresh and inter­est­ing musi­cact that aer­ates the lineup in every venue he plays.
Big heart, friendly lifestyle brought together with sense for par­ty­ing hard and open­ing your mind in music!


Alien­ata is one of the per­sons who decided to live music when she was young.
DJ’ing is her ded­i­ca­tion since 2000. She met so many peo­ple who influ­enced her musi­cal expres­sion. She moved to Canada and worked there with the music scene, then went back to Spain where she was hail­ing from and now lives in Berlin where she started to pro­duce music. Her first remix was released in Autumn 2012 on Snuff Trax.

read more »

Pure from her deep­est thoughts and feel­ings her musi­cal style needs more than the words: techno or house. You will always find your­self lost in: Obses­sive Anal­ogy, Microloops com­ing from any source (even includ­ing fridge’s plug), Acid,IDM, Dubby, Dark Disco, IDM, end­less Miles Davis songs, Jak­beat, Ana­logic Deep Tex­tures, Sex­ual Dark Exper­i­men­tal Hybrids,Cosmic rhythm and beau­ti­ful Aquatic Dark Elec­tro tracks.

She is cur­rently work­ing on a musi­cal project called Kat Chan­nel with Snuffo (50% of Snuff Crew).


Sebas­t­ian Kökow stands for techno in its purest form. Not only is he part of the more than leg­endary video crew The29NovFilms, which is respon­si­ble for over 5000 videos accom­pa­ny­ing tracks of more or less any­body with a stand­ing in the techno scene, but also he is a dj who has devel­oped a rep­u­ta­tion in Berlin’s under­ground with his raw and intense techno sets which are heav­ily influ­enced by his love for indus­trial and EBM.


No space for pos­ing or atti­tude — it’s all about music!
Berlin based AXIOM started play­ing elec­tronic music in the 90s. The biggest impact on him in that time after a still rooted Hip Hop period was Techno and Elec­tro (the real Elec­tro deal!).

read more »

He never was that guy who goes with trends and wasn’t will­ing to put him­self into the spot­light by play­ing the newest (and in most cases dis­pos­able) records; he never wanted to play the game that way. It was never about the per­son play­ing but the music itself. There­fore, he never stopped check­ing out record stores, dig­ging for stuff with dis­tinc­tive time­less qual­ity. With his well-balanced taste and also well-executed dj-sets (con­tain­ing time­less clas­sic and unknown won­ders) Axiom started, unwill­ingly, to leave a dis­tinc­tive mark.

In the early 00’s, exper­i­men­tal sounds became the grav­i­ta­tional point of his musi­cal inter­ests. Elec­tron­ica, IDM and Ambi­ent, stun­ning new grooves and feel­ings for har­mon­ics took place in his approach for bring­ing high-quality-dancemusic to the audi­ence. Together with Dub­step (along­side Wonky, Glich-Hop — tak­ing him a bit back to his Hip-Hop roots and other dis­tinc­tive gen­res), which plays a very spe­cial role in his work as a DJ too, he had the tools for struc­tur­ing Dj-sets that should not only enter­tain but to edu­cate and refine audience’s taste all around.

In 2006 he wanted to widen his view of what music is, espe­cially the exper­i­men­tal electronic-music-scene by pro­vid­ing inter­est­ing music with­out putting it under pres­sure of the all-digesting and redi­ges­tive music mar­ket. So he launched with HURON the Cre­ative Commons-based net­la­bel CRAZY LANGUAGE for con­tem­po­rary elec­tronic music such as Ambi­ent, IDM, Elec­tron­ica, Glitch etc. After the first release fea­tur­ing his buddy HURON, almost 40 EPs and Albums were pub­lished for free down­load, con­tain­ing out­stand­ing artists like RANDOMFORM, ATMOGAT, PLEQ, FM CONTROL, FRANCISCO GODIKINHO aka XZICD and many more.

With­out much pas­sion and spirit the label wouldn’t work as it does. Exactly the same pas­sion and spirit AXIOM is show­ing when work­ing on new releases as well as when DJing in the clubs. Beyond his label and his spinning-records deals, he is work­ing with KILLEKILL BERLIN, help­ing to run par­ties, spe­cially on the gen­res he grew to love, show­cas­ing this way, the other side of the self-imposed min­i­mal style Berlin had for many years. Alter­na­tive music expe­ri­ence to the masses!


DJ Flush aka Nico Deuster has been a dj for 15 years now push­ing the bor­ders of elec­tronic music: from chicago jack and booty tracks to elec­tro, from dis­torted no future sounds to rather min­i­mal funk — dirty, freaky and often with a big drop of acid.

read more »

DJ FLUSH played al most of the rel­e­vant clubs in Berlin as there are OstGut/Panoramabar, Tre­sor, Maria, WMF, Water­gate and with THE ELECTRIC FORCE, SWEAT & ERROR and FREAKED he has been pro­mot­ing party nights that are renowned for pre­sent­ing some of the fresh­est and most upfront music to the audi­ence every time. Daniel Bell, Cris­t­ian Vogel, Ark, Roman Flügel, Neil Land­strumm, Frankie and many oth­ers were play­ing there. Since June 2008 he has started the Killekill Club at Berghain Kan­tine which by now has become a Berlin leg­end. Strongly con­nected to the scene DJ FLUSH has also been rock­ing many non com­mer­cial under­ground loca­tions all over Berlin and Ger­many as well as inter­na­tional clubs in Poland, France, Swe­den, Nether­lands, Bel­gium, Turkey, Mex­ico and so on… With his own pro­duc­tions DJ FLUSH has also far con­tributed to some com­pi­la­tions on Shitkat­a­pult and Musick To Play In The Club.