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Detroit Swindle im Nordstern

15. August 2012

Detroit Swindle consist of Lars Dales and Maarten Smeets, 2 guys that, without actually growing up together, have had practically an identical musical upbringing. A vibrant mix of Motown-soul, funk, hiphop and jazz inspired them from an early age on and after a varied exploration through techno and house, they met each other by mutual interest in Detroit inspired deephouse.

Detroit Swindle have a clear vision on the music they produce and play. If you can’t nod your head to it, it’s probably not theirs and they probably won’t like it. Their productions are best described as contemporary interpretations of classic soul tracks with melodical grooves, jazzy chords and bumpy bass-lines. So in short, if Marvin Gaye would have made house music, they would have been his biggest fans.

2011 is the year of their first release. With their ‘Starvin EP’ on Saints & Sonnets, they place themselves amongst highly acclaimed artists like Roman Flügel, Ethyl and Huxley. They are currently working on several remixes and releases, and are experimenting with their DJ/live performance. Shows are planned across the Netherlands, Germany and England. For bookings or other inquiries, contact them by email and be sure to follow them on their social media.

Sa 06.10.2012 23.00
Nordstern Basel

Detroit Swindle im Nordstern

Marcus Meinhardt in Frieda’s Büxe

28. July 2012

Whether it’s behind the scenes or behind the decks, Marcus Meinhardt is definitely one of the most active members of the German club scene. The thirty-something Dj has defined the Berlin sound with his countless club gigs including his residency at the world renowned Watergate club. He is also a welcome guest on the international electronic parquet with his elegant, hypnotizing sets and sympathetic nature. He is a true character in the electronic music scene. Marcus is also a well known party organizer in and around Berlin; the Home Sweet Home parties have taken the cities best after hour locations by storm,. The famed Muna-Tent at the SonneMondSterne Festival would not be where it is today if it wasn’t for Marcus’ co organization and closing sets. He was born in the quiet county of Thüringen, where, once infected by the techno bug, he soon took up residency at the Muna, one of East Germany’s most renowned clubs. During this time he and the Muna team began organizing the SonneMondSterne-Festival, which, today is one of Europe’s largest and most famous Open Air’s. Marcus finally moved to Berlin in 2002 where he took a head dive into the pulsating club scene that gave him enough room to experiment musically. This inspired him to begin producing his own tracks. His first EP was released in 2006 on Micro.Fon. Nowadays Marcus’s releases are exclusive to Upon You, the label which he and Marco Resmann and Hawks Grunert founded in the beginning of 2007 and which has managed to establish itself as one of the most important Tech-House-Labels in such short a time. His fine sense of Intuition for the dance floor can be detected when listening to his subtle arrangements and finely balanced sounds. Proof being »Drive It Mad Max«, »Pacey Lynn«, or »Jerry Lee« which are among the most successful Upon You releases to date.

Sa 10.11.2012 23:00
Frieda’s Büxe Zürich

Marcus Meinhardt in Frieda's Büxe

Kenny Larkin im Weetamix

27. July 2012

To most electronic music aficionados, Detroit native Kenny Larkin is a man who needs no introduction. His impressive 20-year history of creating arguably some of the most timeless, soulful techno ever created, is unquestionable. But, to the newer generation of club-goers, who aren’t aware of his contributions, 2012 serves as the year to re-establish his position as one of the most valuable forces in dance music today.

On his popularity, Larkin states:

“I’m more like the artist’s artist. I’ve had very successful electronic artists tell me constantly how much I’ve influenced them, but, to the newer generations of club-goers, my name might not be as well known. I like to say, I’m famous for not being famous!” -KL

Since the beginning of his career, Larkin’s profile was never considered massive, nor did he ever serve as the “face of techno.” Yet, the respect and admiration he garners from his fans, electronic musicians, and journalists globally leave little doubt as to his relevance, and influence in a genre that sometimes can be described as lacking in feeling, warmth and musicality.

It is that musicality that allowed him to give us an unforgettable collection of original material and remixes, such as the amazingly groovy Inner City “Share My Life.” Many consider this rework one of the best Inner City remixes ever done. Or the equally stunning remix done for Ben Klock’s “OK,” which was voted by website LITTLE WHITE EARBUDS as the 20th top track of 2009.

The reviewer comments:
… Larkin defrosts Klockʼs “OK” with swelling warmth and a bass line that wound itself all the way to the horizon. High wire strings gave the remix a sense of drama, while faultless percussive turns saw halting snares, clipped shakers and languid hi-hats entwine themselves through the fabric of the track. Coaxing an animalistic cry from his hardware, Larkin had already succeeded in creating a stunning take on “OK” by the three minute mark, but then topped it all off with a gorgeous piano solo that continued for the remainder of the track, adding a graceful fragility to the feverish pace set by the other elements. Not just one of Larkinʼs finest moments but one of 2009ʼs as well. Stunning! -LWE

But by far, one of the most memorable recent remixes, was Larkin’s version of Radioslave’s “Don’t Need A Cure For This.” Released in late 2010, Larkin effortlessly displays his penchant for melody, and his signature jazzy keyboard riffs. The keyboard line, alongside the driving rhythm, resulted in the remix becoming one of the most charted remixes of 2010-11 on popular electronic music websites Resident Advisor, and Beatport.

Never to rest on his laurels, in Dec. 2011, Larkin delivered one of the first biggest remixes of 2012. Less jazzy, but no less impressive than his Radioslave remix, Larkin’s expertly crafted version of Inner City’s, “Future,” which he coincidentally co-produced, and co-wrote, quickly climbed to the number one spot on Beatport’s Top 100 Techno Chart, and reached number 16 on their Top 100 overall chart, which combines all genres. Top dj’s from around the globe are currently supportive this massive floor filler. This was one of only a few Detroit titles to ever reach number one on the techno chart, since the creation of Beatport.

“Quality, not quantity…” -KL

The building blocks of his signature sound are rooted in his early exposure to jazz, funk, and soul, in addition to other more electronic influences. These styles all serve as the backbone of his unique style. This was a key component in the formation of the second wave of Detroit Techno, alongside artists such as Carl Craig. Larkin’s small, but impressive catalog of work of over the years, all displays his ability to chisel out of the often cold hard machines, his own sound that is all heart and soul. Quite simply, this is electronic soul music.

After listening to his debut album, released on Warp Records, Azimuth (released 1994), the press commented:

“”Azimuth is one of the most imaginative and original techno albums yet.” MUSIC WEEK

“A masterpiece. This LP of intelligent Detroit techno is an upcoming classic.” STREETSOUNDS

His second album, entitled Metaphor, released in 1995 on R&S, was no less impressive:

“This is electronic soul music, full of human feeling and warmth” MixMag

“Delightful, pure Detroit-style techno. Melodic, emotive and, like so much great U.S. techno,
almost jazz-like in places. Larkin is a man with his finger on the fast forward button of music’s
future.” SELECT

Street Sound magazine later voted Azimuth as one of the top 50 Techno CD’s of all

His second album, entitled Metaphor, released in 1995 on R&S, was no less impressive:

”A juxtaposition of polished classic Detroit and quirky jazz-inspired innovation. At times very
minimal and ambient, other times well informed by house, Kenny’s warm dance beats hit in just
the right places at just the right time.” I-D

-Metaphor was Nominated for “Best Electronic Album of the Year by Keyboard

-In 1995, Larkin was voted “Best Techno Artist of the Year by local Detroit newspaper,
Metro Times.

Larkin returned from a break, and re-established himself with his, “Keys, Strings,Tambourines.” The album was released on the legendary Planet e, and was voted by Pop Matters magazine as the ninth best electronic albums of 2008.

For their selection of top 20 albums of 2008, well respected website, Resident Advisor, listed Larkin’s album at 18.
“Throughout Keys, Strings, Tambourines, Larkin peppers his elegant tech house rhythms with jazzy keyboard fills, strings, tambourines and oddball synth blurts, making for an especially tuneful listen that doesn’t skimp on the ass-shaking. Fans of Larkin’s classic works will not be disappointed here, nor will those discovering his music for the first time.” –Resident Advisor

Kenny has an undeniable passion for making music. In addition to his busy global dj schedule, Larkin is currently working on no less than 7 remixes, for a number of noteworthy artists craving the Larkin touch. In addition, he is putting the final touches on his first original release since his KST release on Planet e. Due out in the spring on Cadenza Records..

Larkin’s sound continues to stand the test of time. His unique, musical approach to dance music transcends expectations in balance with meeting his own ambitions and meanwhile pleasing “Detroit-Days” devoted followers all the world over. As his popularity grows, he will no doubt convert new fans to believers and show them that music…REAL music, and Techno can in fact coexist in the same fuzzy place in the heart.
Famous for not being famous?

Not for long.

Fr 05.10.2012 23:00
Weetamix Lausanne

Kenny Larkin im Weetamix

Bruno Pronsato in der Via Felsenau

26. July 2012

Bruno Pronsato (aka Steven Ford) has been subverting expectations within techno’s upper echelons since 2003-but the Seattle producer took a circuitous path to reach his current lofty status. A former speed-metal drummer with a serious appreciation for 12-tone composers, Pronsato began creating electronic music in 1999 under the moniker Bobby Karate. His sole album in that guise-2003’s Hot Trips, Cold Returns-mutated microsound into a cornucopia of fascinating shapes. However, later that year, Ford transferred his acumen for advanced tone-bending into the experimental-techno realm, as evidenced by Pronsato’s debut 12”, Read_Me (for the Kompakt-distributed Orac Records). Pronsato followed that with the acclaimed full-length Silver Cities (Orac), a phenomenal derangement of dance-music tropes and an ear-tricking delight on headphones. Stellar reviews in XLR8R, The Wire, The Stranger, and various European zines led to interest from elite labels worldwide, including Canada’s Musique Risquee, which issued the Ape Masquerade EP in 2005. A powerful, exciting set at Montreal’s 2005 Mutek festival has furthered Pronsato’s ascendancy within avant-techno circles and has resulted in bookings at prestigious clubs in Europe, the United States, and South America.

Sa 15.09.2012 23:00
Via Felsenau Bern

Bruno Pronsato in der Via Felsenau

Marcel Fengler im Hive

25. July 2012

Techno according to Marcel Fengler has nothing to do with being a go‐getter or having an alternative career, it is way more than means to an end: it is his definitive and concentrated passion.

In Marcel Fengler’s world, opposites attract. Ambient and electronica are equal parts in his sets that owe as much to the UK’s progressive school of relentless techno as they do to that special “Berghain sound”. A dictum created by music journalists and a description that is a diverging as Berghain’s resident DJs. Being one of them since day one, Fengler made his very own and self‐confident contribution to that sound. He really knows his craft. Fengler’s DJ sets are characteristically offensive and dynamic, hard and consistent, but also surprising and emotional. In a realm that is dominated by technology and machines, his bright personality and the human aspect stay visible. You can feel his personal touch.

A similar versatility can also be found in his studio work. Marcel’s fondness for synth pads goes along with gloomy electro, hard and steady‐paced techno doesn’t compete with his sense for moods and deepness. His search for different parts that work as a whole is as visible here as it is in his DJ style. Marcel Fengler looks for quality over quantity. Nothing leaves his studio that hasn’t passed this test. Neither artificial shortage of releases nor coyness, this behaviour is essentially Marcel Fengler: passion before purpose.

Sa 18.08.2012 23:00
Hive Zürich

Marcel Fengler im Hive

Barem im Cabaret

24. July 2012

‘Everything you do in life affects your music if you do music with passion. It’s YOU in there, with everything good or bad inside’.

Mauricio Barembuem (aka Barem) perfectly personifies the new breed of electronic musician who has grown up in the digital age, using intuitive software programs like Reason and Ableton to spontaneously express ideas and emotions. On-line distribution has also made it possible for them to reach out and connect with audiences across the globe, no matter where they are – Buenos Aires for example, where Barem grew up amid the hustle and bustle of a city on the edge.

His teenage years were spent playing blues and rock guitar in bands but this always meant compromise. He longed for a purer form of self expression and eventually found it through electronic music, fascinated in particular by the way some DJs could impose their own personal vision onto the music they played, elevating it to an art form. It was exactly the inspiration he needed and Barem was soon experimenting with sampled loops and buying records (7th City, Spectral, Perlon and of course Minus). However, becoming a techno producer/DJ in Buenos Aires was easier said than done with gigs were few and far between. He was close to quitting a few times but found the right people at the right time and the solid advice they gave kept him motivated and focussed on his goal.

It was to be a defining moment and from that point on his induction into the scene was fast and frenetic. He released the Kleine EP on the free net label Unfoundsound in July 2005 with the track Suki grabbing the attention of many prominent DJs, before graduating to Foundsound with his first vinyl EP – Campo Madness in May 2006. Meanwhile, his relationship with Minus was already taking root. Richie Hawtin encouraged him to submit some demos after hooking up in Buenos Aires, one of which – Opal, appeared on the Min2Max LP which kick-started a period of non-stop touring across the US and Europe as demand for his live performances grew. Two Minus releases then followed in quick succession. 2007 saw the release of his Never Better Than Late EP before 2008’s superb Kolimar EP signalled a distinctive evolution of his sound, adding organic, house inflected grooves to his repertoire. Listening to both EPs, it’s clear Barem concentrates most energy into creating the powerful bass lines that underpin his work. His expansive use of reverb and delay create space for subtle percussive elements to skip and snake while distant, sometimes eerie melodies occur on random, secondary levels as a result of these interacting elements.

Some tracks just sound right from the first moment you experience them to the point where it’s often hard to appreciate the intricacies that lie within. Whether on outstanding remixes like Fuse’s Substance Abuse from last year’s Plus8100 retrospective or his recent outing on Foundsound with the epic Heyday, it’s all about keeping things simple and staying true to the old school, minimalist approach that first got him hooked, his definition of which is both insightful and considered:

‘’…Minimal is not really a sound… it’s just a way of making music. It represents good taste, stylish sounds, the underground, afterhours… Whatever native roots you have, whatever music you like or liked in the past, it all fits in there and it’s not dying in my opinion. It’s just arrived at the point where we’ve rediscovered how free and amazing the concept and the reasons behind it are…’’

Which goes some way to explain his decision in 2008 to step back from performing live to once again concentrate on DJing, infusing his sets with warm, Latin rhythms as he blends his favourite tunes from a cross section of electronic genres past and present. His sets have graced some of the biggest events around – the Detroit Music Festival, Timewarp, Miami, Ibiza, ADE…not to mention 2009’s Contakt special at Brixton Academy and the Minus North American bus tour.

Looking ahead, expect a lot more touring and even more production from Barem.

Sa 29.09.2012 23:00
Cabaret Club Zürich

Barem im Cabaret

Monika Kruse im Hive

19. July 2012

Monika Kruse was born 1971 in Berlin, but grew up in Bavaria’s capital Munich. Her passion and love for music came at the age of four when she started taking piano lessons. A love that would never leave her and that she expressed in these simple words: “Music just makes me happy.

Monika started her DJ carrier 1991 in Munich while she was studying sociology and working for a well-known record label as a product manager. Funk, Hip Hop and House influenced her early DJ sets.

Monika’s great talent and sensible musical feeling to choose the best record at the right time and to create an amazing and fantastic party vibe brought her fast recognition and national bookings outside of Munich. In 1993 she became a member of the Ultraworld Crew.

The group organized Techno Parties and opened the legendary “Ultraschall” Club in Munich in 1994 – where Monika was resident DJ right from the start. In 1995 Monika produced her own events called “Housetram” in an abandon Munich streetcar. Around the same time she started touring international from Australia to New York and at nearly every place on the planet.

Aside from her DJ’ing, Monika began to create her own musical productions. She released her first track in 1996, before she meet her “partner in crime” Patrick Lindsey. With whom she shared a very successful collaboration with more than 2 artist albums, 14 single EP’s record releases and various remixes. After moving back to Berlin Monika formed two record companies: Terminals M and Electric Avenue Recordings. Two label imprints that offer a platform for well-known and unknown, young and creative artists and producers. On Terminal M – among one of the many great tunes – Monika Kruse’s most successful release so far: “Latin Lovers”. A fusion of Latin grooves and electronic beats that reached the number #1 in Netherlands Dance Charts and hit the Top 20 the Spanish Sale Charts in 2003.

Apart from her busy DJ and producing schedule, in 2000 Monika founded the charity organization “No Historical Backspin”. A platform for Electronic Artists to spotlight a voice and make a stand against racism, intolerance and xenophobia. With more than 20 events produced, electronic musicians have donated their entire fees to the victim fund “Cura” of the Amadeu Antonio foundation, which helps and supports the victims of right and racist motivated violence.

Beside her seven DJ-mix albums – including Monika Kruse “On The Road Volume 1, 2, 3 & 4” Monika Kruse’s DJ-Schedule has taken her from Japan’s largest indoor Rave “Wire”, to the “Loveparade closing ceremony” in front of 1,5 million people. In Berlin her home base – she is a regular at the world-renowned clubs “Berghain/Panorama Bar” or “Watergate”.

Her national and international success is visible in various DJ Charts or magazines polls over the last couple of years. The more recent one in Germanys Raveline Magazine, where the readers voted Monika in the Top 4 of the national DJ Polls 2007.

Monika Kruse together with producer Gregor Tresher finished Monika´s first solo album “Changes of Perception” in spring last year. The album was released in September 2008 and was voted as Best Album of 2008 on number 2 in Germany´s Raveline Magazin.

In 2009, three remix EP’s of “Changes of Perception” are being released on her label Terminal M.

They contain Remixes from Heartthrob, Mark Broom, Broombeck, 2000 and One, Erman Erim and Luca Morris and had dropped in spring, summer and fall of 2009.

Fr 07.12.2012 23:00
Hive Zürich

Monika Kruse im Hive