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Photos by: Svetlana Sokolova Monty Luke, interview for Playful Magazine We caught up with Monty Luke, the raw, dub-infused house and techno DJ, to discuss his career up to today, compare the Berlin and Detroit scenes, and explore the evolution of the techno scene – as he puts it, “It’s too late for hopes and fears” What did your musical journey look like up until today, and how did you get into Detroit techno and house? "My musical journey is really the story of a never-ending quest. I'm constantly seeking, constantly yearning for the new and the contemporary, and learning new methods and incorporating that into what I do as a DJ. Growing up in Los Angeles and knowing the history and origins of House and Techno meant that at some point, my search would lead me to either Chicago or Detroit to learn more. I ended up in Detroit for a 10 year span (2008-2018)." What about it made you get hooked? And what drives the passion today? "I am passionate about sharing new ideas through music; this is what I love so much about being a DJ. In 2023; telling people you’re a DJ is about as cliché as saying, “I’m a yoga teacher” because so many people do it now. But for me, I’m still in love with the idea of sharing music with people and the exchange of energy and ideas it can bring about. This is why Panorama Bar is one of my favourite places to play. That room just oozes that energy. The ultimate goal is the facilitation of a VIBE. This is why I still do what I do." You're also a label owner of Black Catalogue - could you tell us what inspires your releases? "Black Catalogue is focused on shedding light on artists, many of whom are under-the-radar; many of whom are people of colour. This is not exclusively so, though. It’s basically a venue for me to present/curate/explore and ask questions through the presentation of the ideas of different artists(including myself). They might not all be club bangers, but they are all definitely interesting and thought-provoking music releases." Monty Luke, interview for Playful Magazine The techno scene has grown a lot - do you have any fears and hopes for it? "As you know, there is a massive transition happening at the moment. For years, I’ve always likened what we’re doing now to the early era of Rock n Roll. Frankie Knuckles is our Fats Domino. Richie Hawtin our Bill Haley & The Comets… We are now coming out of that early era and into an era of exponential growth and popularity. Major labels are again showing interest, major investment is happening. The streaming phenomenon during the pandemic saw DJ’s and dance music become ubiquitous; this music was suddenly accessible to anyone with a computer or big screen tv connected to the internet. The visual aspect became as important (if not more so) as the aural. The growth and diversity has exploded; it’s no longer this thing of ours,’ it’s everywhere. It’s too late for hopes and fears; we just gotta mount up and hang on for the ride!" From Los Angeles to San Francisco to Detroit and Berlin - How does the scene differ if we compare Detroit and Berlin? (Maybe you have something to add about LA and SF too?) "Not too sure about differences, but the scene on the west coast and Berlin have some real parallels; in particular with the SF Bay Area scene there is a dedication to freedom, to diversity and non-conformity. For Detroit, I think most people in Berlin might be surprised to learn it’s not as active as the scene is here in terms of venues, events, etc." LISTEN TO MONTY LUKE’S NEW ALBUM - OUR IN JANUARY 2024 Follow Monty Luke on Instagram

We catch up with the French producer and DJ La Kajofol to get to know more about her musical journey, what inspires her as well as her take on electronic music production. Photos by: Papillon Prod La Kajofol interview for Playful Magazine What has your musical journey looked like? My musical journey has its roots in my childhood. Even when I was very young, my mother would sing songs while playing the guitar and piano for my brother and me. She even composed a special song for each of us as babies, which she continued to sing to us for years. I can still sing it today. On my mother's side, we were all deeply immersed in music. Our Christmases were always a musical celebration, where every family member picked up an instrument and joined in the jam, much to the delight of my grandmother. I quickly became a self-taught musician, learning to play the piano, guitar, and percussion instruments. I followed in my mother's footsteps in this regard. I even brought my guitar to college! Later on, my father introduced me to the greatest classics of French Variety and the most beautiful songs, which played a significant role in shaping my love for songwriting. Around the age of 18, I discovered the Techno Movement, and I was immediately drawn to its beats and percussive styles. As someone who always loved singing and melodious music, I felt a strong desire to blend my voice with Techno. I then acquired a Korg Electribe 2 and started experimenting. In 2019, my journey into music production truly began when I delved into the captivating and boundless world of Ableton, thanks to my friend Protokseed, who is also involved in electronic music. Since then, music composition has become an integral part of my life, and I can no longer imagine a world without it! La Kajofol interview for Playful Magazine What inspires you when producing vs. when Djing? In my production work, I draw inspiration from my everyday life. I take long walks with my dog every day, exploring beautiful places where I can immerse myself in silence, without music or any other sounds. I find inspiration in the moments I share with my partner, in the simple joys of life, and in the unwavering support of my family, who have been with me from the very beginning and without whom I would be nothing today. I'm also grateful for my friends, who allow me to just be myself and momentarily forget about La Kajofol. Additionally, my travels play a significant role in my creative process. I'm an avid adventurer, and I need to explore new and diverse places regularly to recharge my creative energies and continually generate fresh ideas. In the realm of DJing, it's a challenge to keep reinventing yourself when you're playing every weekend and producing your own tracks. When I first started DJing, I exclusively played my own songs. However, I soon realized that offering a completely new set every weekend while only playing my own tracks was an unrealistic expectation, unless I could produce 20 new songs per week, which would be superhuman! Now, what inspires me in my DJ sets is the variety of styles and the creation of enchanting, captivating, and dynamically evolving narratives. I enjoy blending different influences, and I refer to my style as 'Mystical Techno.' I mix elements from Trance, Drum and Bass, and even delve into harder styles like Hardtek or Hardstyle towards the end of a set. It's not an easy feat to transition seamlessly from a Drum and Bass track back to Techno, but when done right, it's incredibly fascinating! Personally, during a one-hour set, if I stick to just one style, I find myself getting bored and fatigued quickly. Therefore, I aim to captivate my audience and lead them through the diverse facets of my musical journey. Was there ever a moment when you found the music you'd like to create - could you tell us about that moment and what that decision looked like? I've always had an affinity for captivating music, even before I discovered techno. I was drawn to compositions rich in atmosphere, voices, and particularly those featuring oriental and mystical scales. One group, in particular, has been a constant source of inspiration for me since I was 14, and I continue to listen to their music almost every day – Kaya Project. The concept of 'Mystical Techno' came to me naturally in the world of Techno, even before I began producing it. Initially, I wasn't sure if it would resonate with others because very few were exploring this style at the time. Today, it has become my musical identity, and the positive reception from people motivates me to push the boundaries further and continue offering fresh experiences. I'm driven to consistently challenge myself and provide my audience with new and exciting musical journeys.

Photo by: Bex Griffin Darwin, REEF, interview Playful Magazine It's time for the last REEF of the year. Playful spoke with party series founder Darwin about the journey from Griessmuehle to Berghain. Tell us about REEF's roots. When and how did it all start? REEF was born at Griessmuehle (RIP) in 2016. Esposito and I were already residents there since 2014, but we mostly played techno nights and weird after-hour slots in the garden. We are both huge fans of bass music and were slowly starting to introduce that more into our sets. By that point I had been in Berlin for 5 years and was so tired of techno. I had a dream to have a rave that went for 24 hours, but with all my favorite strains of bass music instead of the usual genres that filled those types of parties in the Berlin landscape. I pitched it to the owners and they let me try it out. Looking at Berghain/Pano and their program, REEF is definitely standing out. Was Berghain always the goal venue? Not at all. Griessmuehle was my living room and where I cut my teeth. I was very loyal to that club, but I left due to issues with the security there. Shortly after, the club ended up closing anyway, so I guess it was fate that it worked out the way it did. I knew the next step had to be a bigger venue with a sound system that could fully present my vision, so Berghain felt like an obvious option to try. Also, my flip from techno into bass music happened because I used to go to the Sub:stance parties that took place there, so I thought it might be cool to pick up the ashes they left behind and try to reignite that concept. What would you say your events brings to the building, that differences from the typical Berghain bookings? Aside from an alternative to the sounds of Klubnacht, my community. Our crowd are extremely open to experimentation and they're a bunch of low end freaks lol. What defines the REEF team? Well the REEF team is just me ;P But Esposito has been my best friend, resident and partner in crime since the beginning. I think the most important thing we have as residents is a deep knowledge of how to open and close floors. We both have years of experience of playing bass music to people who don't like bass music, and also really understand how to program and play long nights. Darwin, REEF, interview Playful Magazine What is one (or two) of your most magical memories so far? I think the moment I'm the most proud of was when I put Insta:mental and dBbridge back together at Griessmuehle 10 years after the Autonomic movement. I also had the Sinai Soundsystem from Sheffield brought in for the night. The bass was so heavy we had to drill the bar down and stuff it with fibreglass so it would stop rattling, and we handed out ear plugs to everyone at the door. Mark Ernestus showed up at the soundcheck so he could check out the system, which was kind of iconic. It was a really magical night... The other big one for me is when we finally got to do both floors at Berghain, and it was busier than I could have ever expected. Everyone was so on point that night and Esposito played one of the craziest closing sets downstairs. He dropped one of my favorite tracks of all time - Omni Trio "Mainline (95 Lick)" and I just burst into tears. I'm really hard on myself, and I'm always looking forward, so it's very rare that I can stop and enjoy the work that I've done. This was the moment after 6 years when I finally was like "Fuck, I can't believe I pulled this shit off." I was really proud, and Esposito and I both cried at the end of the night in the booth when he finished. It's a beautiful memory I'll never forget. What can we expect this Friday? I think this is one of my favorite lineups I've ever put together. I've been trying to get Lee Gamble over for years, and it's finally happening. Him and dBridge are two of the most influential and inspiring DJs for me personally. Djrum closing Pbar is an absolute dream come true as well. What can we expect of REEF in 2024? 3 more parties that will pack enough bass to rattle your insides.

All photos by: Fofo Altinell Photo by Fofo Altinell, interview by Playful Magazine We catch up with the Swedish born and Berlin based photographer Fofo Altinell, to talk about what about Berlin inspires his art, as well as how it changed it. But also what he brings with him from Scandinavia. When did your interest in photography start, and how did it take shape into what it is today? I was always very visually aware as a kid, with vivid colourful daydreams and fantasies while playing in the Swedish forest.  Growing up I followed the road of my athlete parents so I kind of stopped drawing and painting and my clothes turned into my creative way of expressing myself. At 13 years old I had blue spikes, big silver raver pants, buffalo shoes and a tight Pokémon t-shirt. A look i still love to be honest. Photo by Fofo Altinell, interview by Playful Magazine I wanted to study art in high-school, but my parents said no. I went on the road to be an architect but luckily i needed a break after high-school and went backpacking with a small point and shoot camera and got obsessed. After traveling I decided to apply for art school but needed a portfolio, and as the lil hippie kiddo I was, I didn't know how to get the money for a studio. I talked to a friend and his sister who had recently done a short internship at a creative studio,  and she gave us the security code to the doors. We went there illegally every night for 2 weeks, smoked weed and created my portfolio. We photographed how all the gear was placed out before we touched anything and then put it back before we left early in the morning. Once we filled the room with 100 balloons and got so stoned we had a hard time to pop them and clean up before the workers came in the morning.  With that portfolio I got into art school at the university and now I lecture at the same school twice a year Fofo Altinell self portrait You’re from Sweden, how come you moved to Berlin? At art school I met a friend who was into techno music, he bought me a ticket to Fusion festival and said ‘if you like the festival you don't have to pay me back for the ticket, if you love it you just pay me back’.  And damn it blew my mind… I could never imagine something like that existed, and I had the time of my life.  I met some people from Berlin who brought me to Berghain the weekend after. Marcel Dettmann did the closing set and at the dance floor I decided to do my internship in Berlin instead of London.  What inspires you to shoot today? Life inspires me. Friends, music, colours in the streets, ayahuasca and vipassana. Is there anything about Berlin that inspires you, if so, what? Berlin is very beautiful with all the mess and graffiti, construction sites and trees but mainly all the ravers outfits. Oh and electronic music is a big influence in my life. Anything ambient to techno to dark psytrance really. Photo by Fofo Altinell, interview by Playful Magazine In what way has your art changed since you moved here? I still have pretty much of the Scandinavian romanticism in my light but the subjects are completely Berlin inspired. In what way would you say the way you perceive yourself has changed here? The more you do soul searching the more you find and have to deal with. In my 10 years in Berlin I found out I’m bisexual, have adhd, attachment/addiction issues, and other things. At the same time I found my chosen family, created an amazing life full of travel and art. After some very electric years I now feel so calm and happy within myself. It's hard rigorous spiritual work to stay an open and positive soul in this city and I’m happy I’ve done the work, and still do it, all the therapy and spiritual work that is a necessary to grow. What are things you could discover through the process of photographing someone? And how does that process look like for you, aesthetically? It's very intimate to photograph someone. The more I have learned the craft and can relax with the technical part the more intimate it is. Even though I love aesthetics, I want the person's aura to vibrate in the photo. It's a team play to give emotional space and safety for someone to express themselves but also for me to direct what part of them we shall exaggerate. Photo by Fofo Altinell, interview by Playful Magazine The artistic decisions are just coming. I never sit down and think about it to be honest, I don't believe art should come from a desk, I prefer to let it flow. My artistic self esteem is very stable and by now i know that if I just relax and let it flow it will work. Tesla said that all energy and thoughts are external and they come to you if you have an open mind. I actually believe in that. It really feels like it streams from my third eye and suddenly I know what to do. So it actually doesn't feels like it's me, it really feels like a collective energy while creating art. Follow Fofo Altinell on Instagram

By: Filip Sandström Beijer Photos: Fernanda Pereira Yen Sung interview for Playful Magazine Today, she's known as a pioneer in the Portuguese electronic music scene, having been a long-time resident at the iconic club Lux Frágil and inspiring female artists. However, when she started, it wasn't easy being one of the very few women in a completely male-dominated scene. How has 2023 been treating you? It's been a really good year. I played some unexpected gigs where things happened that couldn't be prevented, and it was good. I traveled a little bit, and it went by really fast. Playing in New York was something I was really happy about. You know, I play house music a lot, and New York has a scene and an impact, so that everyone knows about the music. The crowd at this party, ReSolute, was just there to dance, and I loved it You are often described as Portugal’s first female DJ. How has it been being a pioneer, and what struggles have you met along the way? As we can all imagine, living in the same world, it was not always easy for me and I'm really happy with the way the scene has been evolving since. It's definitely going in the right direction. It was a bit lonely in the sense of not having people to share my experience with. My girlfriends were not there. I arrived at the club, got picked up by a man at the airport, went to the hotel where I was picked up by a man for the artist dinner, arrived at the club, and everyone—doorman, promoter, resident DJs—they were all men. This went on for years. It was a man's world, more so back then than now, but it still is. At the time, I never felt totally comfortable. I always felt that I was being judged. I could arrive at record stores sometimes, telling them I was looking for records, and they had more records than were exposed in the shop. I was always looking for something specific, and they would ask me, 'Are you really a DJ?' and stuff like that. It happened. It was lonely. It was not a bad journey or bad situations at all, but it was lonely. I always felt that I was trying to be part of a boys' club. So I'm glad to have been part of a change where we see more and more diverse lineups. To be a role model for female DJ's is something I'm proud of. The world is catching up. Who were your role models? My role models back then were guys. There were one or two DJs in Lisbon that I liked to hear, and they were the role models, which is strange looking back. But that was the only thing I had at the time. It was a sea of men. Of course, I know now that in the States there were already other DJs like K-hand and DJ Minx and in Lisbon we also had DJ Belita who I knew but I didn't know anyone else when I started. What made you take the step and decide that “this is what I will do”? It just happened by chance. I never thought about becoming a DJ. I used to go to this club, Fragile (the name before LUX), and I asked for a job. But the owner, the Founder of Lux Fragile, said he didn't have a job but that he only needed a DJ. I was like, 'Oh, what a shame,' because I wanted to work for the summer. But he said, 'Don't you want to try?' I mean, he was a visionary. I was like, 'What?' I got choked up. But I used to go to this place, and he used to see me there and watched me for sure. So I think he thought that maybe I could do it, and I said yes, and I tried it. For me to be able to stay in the scene and be able to DJ, it had to do with... Of course, I had some talent, but my father always told me that I should be independent. He raised me to be an independent woman. And that's how I managed to deal with being a female in this patriarchy. What is your advice to someone who wants to start a full-time career as a DJ today? One thing that I've been missing a lot these days is real passion for music when it comes to DJs. I really don't know if most of the young DJs are doing it for the music. I think that if you want to become a DJ, you should have some passion for music, for real. And that will take you far. If you start for any other reason, you're not going to stay in the game for a long time, for sure. Yen Sung interview for Playful Magazine How has Lisbon’s club scene been evolving over the years? Lisbon has always been vibrant when it comes to the electronic music scene, and it still is today. I'm glad I was here. The influences I got were mixed, which was good, and there is also a small Afro stage that has contributed to it being a good scene. You’re playing Panorama Bar on New Year's, what does that place mean to you? Panorama and the whole place mean freedom for me. Of course, I feel the same as every DJ; it's a place you want to play, of course, because there's a sense of freedom there that you want to be part of. The first time I played there, I really felt that people are going there to dance and express themselves, and that's what a club should be. What are you preparing for your slot Monday morning (1 AM)? Expect a lot of house music. It will be sexy house. That's what I want to play. Follow Yen Sung on Instagram. Follow photographer Fernanda Pereira on Instagram.

All photos by: Max Eicke Johnny Questions. Photo: Max Eicke We catch up with Berlin based photographer Max Eicke, to speak about inspiration, what it means to him to shoot portraits and his project ‘Dominas’ where he met over 30 sex workers and portraits them. How come you decided to move to Berlin? I was born and grew up in Tübingen, a small university city in Southern Germany. There's a rumor that Goethe vomited there. It's considered the perfect place to stay if you dream of winning a Nobel Prize in medicine. However, it's less ideal if you aim for a career in the arts, which led me to be quite nomadic in my 20s. I studied photography in Munich and then moved to London to work with the artist duo Adam Broomberg and Oliver Chanarin before completing my Master's in Fine Arts at HFBK Hamburg. After years of living out of a suitcase and spending a fortune on a broom closet next to Brick Lane in London, I felt ready for a new base. Berlin seemed like the only option in Germany. When did your interest in photography start? From the beginning, my journey has been rooted in an interest in the world—a curiosity about encounters with people, objects, and diverse environments. During my teenage years, I discovered scuba diving and became captivated by the underwater world. It's a realm devoid of gravity, where light and sound adhere to different laws, creating a completely different universe. This fascination prompted me to pick up a camera, initially with the intention of documenting my underwater observations. The essence of my approach has always been to look carefully, observe, get excited, and allow myself to be curious. Later, when I participated in a youth circus project, my focus shifted towards photographing fellow artists, directing my lens more towards people. Since then, I've developed a profound fascination and empathy for various performers. Beneath it all lies an interest in identities, shifting roles, bodies, and their surfaces. I often find myself revisiting the opening line of Herve Guibert's brilliant book, 'Ghost Image': "Photography is also an act of love." Lj Marles. Photo: Max Eicke What inspires you with your photography? In the realm of photography and art, I've held a fascination for both the works displayed in museums and galleries and the photographic content found in pop-cultural magazines since my youth. I would occasionally embark on a 90-kilometer round trip from Tübingen to Stuttgart just to lay hands on specific magazines. Both worlds have played a crucial and formative role in my life, as my heart resonated with the "noble" art within the museum context as much as it did with the images on printed magazine pages. I consistently make an effort to invest time in appreciating the work of fellow artists and, whenever possible, show my support by purchasing their books or prints. Generally, I find the most inspiration in the life paths of individuals who challenge norms, exuding passion and playfulness, irrespective of their connection to the art world. One notable example is the French acrobat Philippe Petit, who meticulously prepared for six years before walking a tightrope between the towers of the World Trade Center in 1974. Another is Lee Miller, whose life story and the evolution of her photographic work leave a profound impression on me. I also admire Stef Dickers, the archivist of the London Bishopsgate Library, who ardently built and continues to maintain the UK Leather & Fetish Archive—a repository chronicling both English and international history within the kink community. These individuals serve as excellent examples of what can be achieved through passion and curiosity, demonstrating that creativity extends far beyond the realm of art alone. Such inspirational narratives are also explored in Playful Podcast. Mistress Morrigan Mel from photobook "Dominas" by Max Eicke What about Berlin inspires your art? The straightforward answer would be that Berlin inspires me due to its rich history, diverse cultural and music scenes, and its vibrant club, kink, and subcultures. Ultimately, Berlin, in my view, thrives on a distinctive spirit of resistance, a touch of disobedience, and a deep appreciation for diversity. However, this atmosphere is dynamic, evolving alongside the entire city. For me, being a Berliner means embodying a continuous questioning of hierarchies and norms, refusing to obediently submit to them. The spirit I'm referring to is aptly captured by Florian Opitz in his series "Capital B." It serves as a cinematic monument to the resilient resistance of Berliners—a quality that not only perplexes the Berlin Senate but also challenges the rest of Germany. Despite being a source of consternation, this spirit is the most precious asset of the city. I find this vibe incredibly valuable and inspiring, both from an artistic standpoint and in a broader human context. It encourages a continual introspection: Who truly owns the city? And who possesses the authority to dictate the right way of life? Pauly. Photo: Max Eicke In what way has your art changed since you moved here? For me, the imperfect and improvisational nature of Berlin held a remarkably liberating quality. When reflecting on my photographic background, it becomes evident that it was predominantly focused on serious, documentary projects. This inclination likely originated from my upbringing in Tübingen – a bourgeois, sheltered environment with a somewhat serious tone. This predisposition was further reinforced by my experiences at art school, where seriousness prevailed. Consequently, for a considerable period, I found myself seeking documentary subjects as an outsider. It was only upon arriving in Berlin and experiencing the onset of the pandemic that I gained the confidence to recognize the legitimacy of turning my camera more towards my own environment. Berlin granted, and continues to provide, a sense of playfulness that I had always been searching for. You shoot a lot of portraits, what about people makes you want to photograph them? In general, the people I photograph are dear to me. I believe I have to love, respect, somehow embrace everyone I photograph. I need a positive fascination for them, something that sparks my curiosity, my desire to pay attention to them. For me, the act of photography has a lot to do with vulnerability—making myself vulnerable and inviting my counterpart to do the same. Contradiction also attracts me, I think because I myself feel like I have more than one identity. Consequently, I certainly look for people with a similar outlook on life. I find individuals inspiring who dare to play with their self-image and perhaps expand, change, or shift it together. I consider my models as accomplices, not just as actors. Anzhelika Ustymenko. Photo: Max Eicke What are things you could discover through the process of photographing someone?  It is important to me to create an atmosphere of openness where neither I nor the other person is merely reproducing images that were already in our minds, and where both of us can contribute wishes and ideas. We live in such an inundation of images, and cameras and sharing pictures are so ubiquitous that most people always have their own image in mind, constantly thinking about their representation. I find the fragility in this process intriguing—the effort to uncover the nuances that each person adopts in the moment in front of a camera. I believe that more profound and compelling images emerge when one embraces the nervousness and awkwardness inherent in a photographic encounter, rather than attempting to evade or mitigate them. You made a photo book named ‘Dominas’ - what inspired you to focus on dominant women? This book was created during a time when I was predominantly working on documentary projects. I had read the autobiography of a dominatrix and was fascinated by her reflections on society, culture, power, and sexuality. These were all topics that interested me as well, so I began to search, photograph, and interview the protagonists. I met over 30 sex workers for this project, and they couldn't have been more different. The women had diverse cultural and social backgrounds, the most varied motivations for their work, but they had one thing in common: they spoke so openly, seriously, but also humorously and liberally about human sexualities, unlike anyone else I had encountered. I am interested in unexpected encounters. I want to discover what I don't yet know. I am searching for a contemporary version of sexuality. Did you learn anything from creating it? During the portrait sessions, I quickly realized that my idea of how I wanted to portray these women differed significantly from their own ideas. This friction forced me to reflect carefully and question my own preconceptions, as well as the visual representation conventions that many of the women seemed to "offer" through their poses, which became the real challenge to break. I increasingly became aware that the subjects themselves seemed to have internalized a "male" gaze, actually feeling best represented when they precisely adhered to the representation conventions of a patriarchal gaze – conventions that I wanted to critically question and not reproduce through my photographic approach. Working on this project made me think about some of Roland Barthes' lines, which really became important for my future practise: „The portrait-photograph is a closed field of forces. Four image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art.“

By: Kristina Kirkliauskaitė Photos by: Various photographers. CAIVA slide photo: Manon. DJ T-1000 slide photo: Zee Marla Osh. All about sampling – with DJ T-1000 (Alan Oldham), DJ, CAIVA and Tarkno (Jamie). While music sampling has a history as old as the world itself, it still sparks varied perspectives among artists. This time, Playful explores music sampling together with DJ T-1000 (Alan Oldham), who is the Detroit-born, Berlin-based musician, label owner and DJ, CAIVA, a Berlin-based musician, producer and DJ, as well as with the Australian groove specialist, vinyl DJ and music producer – Tarkno (Jamie). In this interview, DJ T-1000, CAIVA, and Tarkno discuss the "reuse of already-created music or its snippet," exploring its impact on the creative process and its influence on the development of the techno and electronic music scene. As music sampling first emerged in the late 1970s in hip hop, it soon expanded across genres, evolving alongside the music landscape, various artist generations, and technological advancements. Starting his musical journey in the 80s, Alan remembers sampling as the "Wild West era" and explains: "It's funny to talk about the early 90s hip hop era where everybody was sampling everyone, and nobody was clearing it up. It was really the 'Wild Wild West' era of music." Reflecting on sampling within the techno scene, Alan shares, "I don't really sample that much in my music. I think techno is about finding new sounds, not really about recycling old sounds. However, I'm not against it because some people can do unrecognizable samples and be creative." Talking about sampling in today's underground scene, Tarkno, or Jamie, assumes that "every digital track is sampled" and continues saying: "I've always been into sampling music. It's surprising how you can use a vocal for a baseline or turn a kick drum into a melody, playing with samples in unconventional ways. Even in DJing, when I layer tracks, I search for those with distinctive samples because a lot of music sounds similar, and a cool sample can make a track stand out. I believe sampling never stops as long as music exists. Someone discovers something unique, and it gets used again." A glimpse into music sampling term Music producers explore various techniques like layering, tempo changes, reversing, resampling, and others to experiment with sampling across different music genres. While analyzing music sampling, we encounter such terms as remix/re-edit, cover, and interpolation. Music sampling is the practice rooted in the art of taking snippets of existing music and incorporating them into new compositions, e.g., Outlander's Vamp (1991) was sampled in Prodigy's World's on Fire (2009). Remixing or re-editing alters some track parts and relying on the original, e.g., Maceo Plex did a remix (2018) of Remake's Blade Runner (1992). A cover is a near-identical reproduction of a song without changing the basic structure, e.g., Gigi D'Agostino's Fly (1999) is a cover of Giancarlo Bigazzi's II Tempo Passa (1991). Music interpolation replays parts note-for-note in a fresh context, e.g., SNAP! 's Rhythm Is a Dancer (1992) interpolates from Newcleus's Automan (1984). CAIVA: Photo by Kilian Augustin A catalyst for music rediscovery and inspiration Music sampling can be a gateway to fresh ideas, creative exploration, and uncharted musical territories. And as CAIVA phrases, "it opens so many possibilities", and continues saying: "With sampling, you can craft entirely new music that carries unique meanings, emotions, and motions. I think sampling can be pretty cool and can be maybe even more creative than other techniques." CAIVA reflects on her experiment with the iconic 90s track "Follow Me" by X-Ray when she created her own re-edit as an inquiry for one 90s remix project: "I have a personal connection to this track as it was on a CD of trance music my parents had. It's one of the first trance tracks I've ever heard, making it a perfect choice for me to work on during the project. I made a cover version of the vocal, recording my own while retaining the lyrics and vibe. The end result sounded like something I could have written myself, and even though I used the same lyrics, the different voice gives it a unique vibe compared to the original." She also mentions: "I think after this, I felt even more inspired by 90s music. It actually inspired me not to sample more but to try to create drums that captured the 90s vibe, all on my own, so that experience was a nice twist in that direction." Adding to that, Jamie considers music sampling as a tool for the learning process, "a good source of inspiration," and shares his experience: "I've always used samples and sampling to get inspired or to find and figure out how something was done in my productions. I'll mostly sample music in a way that changes it so much that you can't even tell what it was originally. And then when I'm playing music, I'm also looking for tracks with a unique iconic sample that will get people on the dance floor listening and paying attention, or they might recognise something." Tarkno. The legal line of music sampling Although it was all fun and games before the 2000s, the rebellious music sampling raised many ethical concerns, which became different copyright laws globally. The most significant are the United States Copyright Act and European Directive 2001/29/EC, which requires artists to be mindful of territorial variations and the evolving challenges of digital sampling, ensuring that creativity aligns with legal boundaries. Discussing ethical concerns in music sampling, Alan recounts a personal incident where another producer sampled one of his tracks: "Back in 2011, I was in Berlin hanging out with a friend in his flat. I remember him putting a random mix. And then I started hearing this track come in. And it sounded like me, it sounded like someone stole my track. I didn't even know that DJ. Then I saw the actual name, so he just took the whole fucking thing, adding just a kick underneath." Alan continues saying: "Honestly, it's not cool. I felt ripped off, but what could I do? I looked it up on Discogs, and the record was already out. What's the point of getting a hold of this guy? Or tracking down the actual DJ and confronting him? At a certain point, you're like, Well, you know, there's nothing you can do about it. Some artists just rip off people's stuff, take it, put a new spin on it, and pass it off as their own. It's unethical and disrespectful to the original creators." CAIVA agrees on ethical considerations and describes it as a "tiny line of music sampling" unless it's done ethically. CAIVA shares her experience of creating the "Fatigue" EP when she asked other fellow DJs to do remix versions of two tracks – "Vigour" and "Take Me Higher": "I asked Trudge to do a remix of 'Take Me Higher', and he took highlights from my track and adapted them to his style while maintaining that heavenly eternal vibe, which the original has. And I loved that. A completely different thing happened when Julian Muller did a remix for my track 'Vigour', which originally carried that deep, dark and heavy vibe. Julian turned it into something positive and easy. I think it's unique because a remix gives me a completely new interpretation of my track." It serves as a good example of how a form of sampling can work with proper consent, and CAIVA adds to it by saying: "The key difference is that I requested the remix of my track. Because if someone worked hard to create an original composition, it can be unfair just to take one's ideas, dress it up a bit, and then just call it your own. Unlike sampling, where people just use your stuff, I initiated this collaboration. And I think it's quite a good example of how you can sample stuff." Adding to Alan and CAIVA, Jamie highlights another ethical point of music sampling: "I think restrictions are in place. The problem arises when the biggest artists worldwide are sampling a lot, like using samples from all the top 100 songs in one way or another. They can't then expect their songs not to be sampled. I think it's kind of hypocritical, right? If you're just taking someone's song and re-releasing it under your name, that's not even sampling, let's be honest." Prospects of music sampling Living at the peak of technological development and advanced tools, sampling digital versions of music becomes even more accessible for everyone. Jamie highlights the increasing possibilities in music sampling: "In electronic music, a significant portion relies on samples, as the genre is built around distorting and transforming sounds from various sources into something new. So, I think sampling will only get more and more intense." Thinking about the near future of the music scene, Jamie reflects on a possible turn of music sampling progression: "I think, in the future, particularly electronic music could be 100% sampled. While other genres like orchestral or jazz might still involve live instruments, the digital nature of electronic music makes complete sampling a logical progression." He continues by saying, "I believe people will increasingly use AI as a tool in music production. While I'm unsure if it will completely take over, I imagine AI assisting with mundane tasks to free up time for more important creative aspects. This also includes the sampling part." However, creating a solid sample demands know-how and creativity. Alan also shares his thoughts related to digital advancements within music sampling and its detection: "As much as people still find ways to sample, it's becoming harder to do so without notice. Now, when you put a track on YouTube or Bandcamp, the algorithms can track down the source of a sample, and if you discover an unauthorized sample of your track, you can report it or request its removal from streaming services. It's more actionable now, compared to the past." Old and damn good vinyl As sampling took deep roots within the digital music industry, some artists are exploring vinyl sampling as a unique path, connecting with analogue sound and repurposing vintage records for fresh creations. Being a true vinyl guru, Jamie shares his opinion on this: "Vinyl is still underground. I mean, it has always been underground. This music was made in a pre-internet era, where there wasn't much influence on the music and pressure from social media on how to produce music. This feels organic and reflects a time when creative expression was more personal and less digitally mediated. It feels very natural (therefore) people want to sample vinyl more." However, creating a clean and high-quality sample from vinyl isn't that easy using some software. Jamie explains why vinyl sampling can be a hassle: "Number one is the quality of your equipment. So if you're using a good stylus, a good cartridge, a good turntable, and a good audio recorder or something, this whole setup alone might cost you at least $1,000." Jamie also mentions the high costs of vinyl itself: "Another thing is that records are pretty expensive. You can buy cheap, three, five euro records, but those will probably be banged up. And they won't sound that good when you're trying to sample it." Advice for emerging artists Sampling is a huge part of the electronic music industry regardless of its positive or negative aspects. Therefore, Alan shares his advice to other emerging artists to try to beat the algorithm and be as original as possible: "If you want to use the sample, that's perfectly okay. But see what you can do, like take the track apart, flip it or give it a unique twist to make it more original and personal to you. I would tell anyone to be as original as possible. It may take longer to achieve success. But the good news is once you succeed, you can say, you know what, I'm completely original. Alan continues by saying, "If you're in a situation where the algorithms will find the sample, it forces you to be creative with the sample to beat the algorithm. Have that creative mentality like, okay, I'm gonna beat the algorithm." DJ T-1000 / Alan Oldham. Photo: Zee Marla Osh Adding to Alan, CAIVA encourages artists to view sampling as a supportive element rather than the centerpiece of their creation: "When I use a sample, it's never my main element. It's important to make sure that it's not in the center and use it when something is missing, and you're just looking for another element. Then, I just adapt the samples to my track and ensure it's still my original track. And I think that's quite a nice way to avoid this copy-paste thing." She also suggests exploring samples not just in existing tracks but also in your surroundings: "For me, it was important to realize that samples can be found anywhere. While many people download sample packs, I encourage exploring beyond that. Look for inspiration in movies, other music genres, or even the world around you, like cities with random noises and natural sounds. It's not just about coping but discovering unique and unexpected sources for your creations. So, I advise experimenting with different sources like these." Concluding the interview, Jamie suggests seeking inspiration from more niche music sources: "Use vinyl, go to a record shop, and don't just pick whatever is popular. Rather, look at the section of the old used vinyl or find something that's not online. If you want to sample, try to bring something interesting to the table. It should be something that represents you. Go into a record store, listen to 1000 records, and find one that resonates with you. Don't just sample music because it's on the internet or popular. Try to sample music because you actually feel something authentic when you listen to it." Explore more of DJ T-1000 / Alan’s Instagram , Soundcloud , Resident Advisor CAIVA’s Instagram , Soundcloud , Resident Advisor Tarkno / Jamie’s Instagram , Soundcloud , Resident Advisor

Héctor Oaks and Helena Hauff at Glitch Festival 2023 opening party There is an alternative to Ibiza in the Mediterranean sea, a couple of days in August every year. That is Malta and Glitch Festival. 33 degrees, brilliant sunshine, and an ice-cold drink by the pool during the day. Mild nights, an amazing audience, and an incredibly impressive lineup under the starry sky. There you have Glitch Festival , which Playful Magazine has fallen in love with in recent years. There is pure passion behind Glitch Festival in Malta. The team behind the festival consists of old Maltese friends with a love for electronic music. Together, they manage to attract some of the hottest names in the techno and house scene each year, both newcomers and seasoned acts, to Gianpula Village just outside Valetta. At Glitch Festival, as a visitor, you get the best of two, perhaps three, worlds. Summer on a Mediterranean island and the rave with a more dedicated audience than that on Ibiza. The festival is adept at blending Malta with music. The festival always begins with an opening party in Valetta, in a grand UNESCO World Heritage protected environment. Three acts on one stage and a breathtaking audio and light show between the formations. Last summer, we experienced a magical B2B set with Helena Hauff and Hector Oaks before Marcel Dettmann took the stage and closed the opening night. It's extra fun that it's usually a local artist who opens, a common thread throughout the festival where you can discover several interesting Maltese names. The festival itself is located in the event village of Gianpula Village, a taxi ride from Valetta, in the Maltese countryside. Here, we find six different stages, including 6 open-air stages and a cave (which Playful had the honor of overseeing in 2022). On the Main Stage "The Fortress," some of the festival's biggest names take turns, but even on the smaller stages, we find names that could fill the entire Fortress. An example of this is Brutalismus 3000 , who hosted the biggest party on The Orbit stage in 2023, or Ellen Allien , who made the same stage sweat into the early hours of 2022. The Fortress, Glitch Festival's main stage All six stages are within short walking distance of each other, making it easy and convenient to hop between performances. You can easily enjoy an act at The Fortress and then be on Boiler room's own stage (see all sets from their stage) 10 minutes later, ready to dance in a livestream. In addition to the opening day, the festival itself spans two days. Beyond that, everything concludes on the fourth day, either with a grand closing party in Gianpula Village or on a boat party in the Mediterranean. Boat parties are popular, and we have even heard from some of the most underground artists in Berlin that they loved the atmosphere on the boat. What we appreciate most about Glitch Festival is the hospitality that permeates the entire event. The artists are well taken care of, the audience is there for their love of music, and we as media have the freedom to move around freely, both on stage and in the crowd. And we have only heard positive responses from the artists. Dr Rubinstein at the Boiler room stage So, anyone craving warm nights, a Mediterranean setting, and world-class electronic music should consider including Glitch Festival in their plans for the summer of 2024. Keep an eye on Glitch Festival on Instagram for lineup releases and ticket information.

Amoreze designer and kink underwear Berlin is known for its hedonistic fashion. We spoke to Anca Barsan, whose brand Amoreze dresses both dress code-seeking tourists and people who want to wear unique and handmade lingerie. Tell us about Atelier Amoreze and the clothes you are creating, what is the vision?  Atelier Amoreze stands as a narrative woven into the fabric of the city, a story of empowerment, artistry, and individual expression. Our vision is not confined to the creation of clothes but extends to crafting a tapestry where each thread symbolizes a personal journey, a statement of self, and a testament to sustainability. In the heart of Berlin, a city celebrated for its vibrant culture and spirited individuality, Amoreze finds its rhythm. Here, we are not just creating lingerie; we are curating experiences. Our vision is to transcend the conventional boundaries of lingerie. We see it as a medium of personal storytelling, a canvas where each individual paints their narrative of confidence, strength, and self-love. Amoreze is about embracing one's body, celebrating one's quirks, and cherishing the unique story that each person carries. It's about creating a space where lingerie is not just an undergarment but a symbol of empowerment, a garment that adorns the body and elevates the spirit. Sustainability and craftsmanship are the cornerstones of our vision. Each Amoreze piece is meticulously crafted, paying homage to the artistry of lingerie making. We are committed to a path of sustainability, ensuring that every product not only brings joy to the wearer but also respects the planet. Our approach is one of mindfulness, cherishing the resources we use, the hands that craft each piece, and the stories that each garment will tell. In essence, Amoreze Berlin is more than a brand. It's a movement towards a future where fashion is an expression of individuality and a celebration of diversity. It's a commitment to quality, sustainability, and above all, a tribute to the unique beauty that each individual holds. Our vision is to weave these elements into every piece we create, crafting not just lingerie but a legacy of empowerment and elegance. Amoreze designer and kink underwear Have you always had a lingerie interest?  The genesis of my lingerie journey is deeply personal, rooted in a quest for comfort, precision, and self-expression. As both the designer and owner of Amoreze, my path has been shaped by my dual background in engineering and fashion design—a mix that perfectly embodies my love for meticulous construction and intricate detailing. My passion for lingerie was sparked by a personal challenge, a quest for the perfect fit that many women encounter. Despite owning an array of over 20 bras, I found myself caught in a conundrum of inconsistent sizing, oscillating between 70A and 80C, yet never discovering my true fit. This inconsistency is not just my story but a narrative shared by over 80% of women who struggle with finding their correct bra size, confounded by standardized sizing and inadequate guides. In this realization, Amoreze was born—not just as a brand, but as a solution, a personal revolution against the one-size-fits-all approach. The journey began with a simple, yet profound act: measuring myself, jotting down the unique contours and dimensions of my body, and crafting the first bralette that wasn't just a piece of lingerie, but a declaration of personalized comfort and style. This bralette was not confined by the conventional norms of wires and standard cup sizes; it was a testament to freedom, designed to embrace every curve and contour with precision. At Amoreze, we don't just create lingerie; we craft a narrative of empowerment. Each piece is a statement against the conventional beauty ideals that confine women into rigid standards of size and shape. The ethos of Amoreze is not just about providing support and comfort; it's about rewriting the story of lingerie, transforming it from a mere garment into a symbol of self-awareness and liberation. I, am not just in the business of making lingerie. I am in the business of empowering women to embrace their unique beauty, to stand tall and confident, liberated from the discomfort of ill-fitting underwear. For me, and for Amoreze, every shape, every size is not just accepted; it's celebrated. This is not just lingerie; it's a movement towards a world where every woman can say, with confidence, "This is me, and I am beautiful. Amoreze designer and kink underwear What inspires you when creating pieces for Amoreze?  Creating pieces for Amoreze is like gathering inspiration from a colorful collage of sources, each adding its own special touch to the story of our brand. My inspiration doesn't come from just one place; it's like a melody made up of diverse, unique, and deeply personal experiences that life offers. The Vibrancy of Berlin: The city's lively vibe, its bold individuality, and its rich cultural mix are a constant source of inspiration. Berlin is like a living, breathing canvas where history and the present blend beautifully. Every street and corner has its own tale, and this lively energy, this celebration of diversity and freedom, finds its way into every piece of Amoreze lingerie, reflecting the heart and soul of the city and its people. Art Deco and Bohemian Styles: The sleek elegance of Art Deco, combined with the free-spirited vibe of Bohemian style, offer endless creative sparks. These styles are more than just design elements; they tell stories of a bygone era, of bold self-expression and artistic movement. They guide the look and feel of Amoreze, blending the structured with the flowing, the timeless with the modern. Individual Stories: Every person has their own unique story, a personal path filled with ups, downs, and dreams. These stories are incredibly inspiring. They remind me that lingerie isn't just an item of clothing but a close companion in life's journey, a piece that should honor the individual, celebrate their path, and lift their spirit. The Pursuit of Comfort and Empowerment: The basic need for comfort, support, and a feeling of empowerment is at the core of every Amoreze piece. Realizing that lingerie is the first layer you put on, the first hug of your day, inspires me to create pieces that are not just pretty to look at but also offer a cocoon of comfort and a boost of confidence. Nature's Colors and Textures: The endless colors, textures, and shapes found in nature inspire our color choices and fabric selections. From the intricate lace that echoes the detailed patterns of leaves to the color schemes that reflect the earth's natural tones, nature is an ever-present source of inspiration, reminding us of the beauty in the natural, the simple, and the real. In making pieces for Amoreze, inspiration is a never-ending journey, a friendly chat between the creator, the wearer, and the world they live in. It's about capturing not just the outward beauty but the hidden stories, the quiet whispers of confidence, and the bold statements of individuality. Every piece of Amoreze is a celebration of this inspiration, a love note to each person's uniqueness, and a nod to the art of living your true self. Do you have a "guilty pleasure" when it comes to designing?  Over time, my approach to design has evolved into what some might call a "guilty pleasure," but I see it as a celebration of authenticity and creativity. Initially, I found myself crafting pieces that I believed people wanted to see and wear, trying to match the rhythm of the market's expectations. But as time passed, a realization dawned on me: striving to be liked is not the pathway to success; it's a route to losing your essence. I've shifted the narrative now. My design process is an intimate dance with my imagination, creating what resonates deeply within me, what I visualize with my eyes closed, and the bold, untamed ideas that spring to life in my mind. It's about honoring my inner voice, my unique perspective, and trusting that the right people will appreciate and connect with my creations. This isn't to say that I work in isolation. The very essence of Amoreze is rooted in tailor-made and bespoke experiences. I warmly welcome and incorporate my clients' feedback, ensuring that each piece is not just an extension of my vision but a harmonious blend of their personality and style. It's a collaborative journey, one where the final creation honors both the wearer's essence and my artistic integrity. What I've learned, and what I hold dearly, is the power of not compromising your true self for the sake of being liked. It's about being fearless in your creativity, authentic in your expression, and trusting that your tribe—those who resonate with your genuine voice—will find you. This, to me, is more than a guilty pleasure; it's the core of my creative ethos, the heartbeat of Amoreze. Amoreze designer and kink underwear Does Berlin inspire you in some way, if so, how? Berlin, the city I now call home, inspires me in countless ways, infusing my work with its vibrant spirit and rich cultural way. Berlin's essence lies in its unapologetic celebration of diversity and freedom. It's a city where people from all walks of life come together, and this melting pot of cultures, ideas, and perspectives is a well of inspiration for me. It reminds me that beauty lies in the unique, the unconventional, and the authentic. The Artistic Expression:Berlin is a canvas where art and expression flourish. Its street art, galleries, and the ever-present echoes of its tumultuous history feed my creativity. The city's ability to constantly reinvent itself, to blend the classic with the avant-garde, inspires me to push boundaries in my designs. The people of Berlin are a testament to individuality. They fearlessly embrace their true selves, unafraid of judgment or conformity. This courage to be authentic, to stand out from the crowd, seeps into my creations. It's a reminder that lingerie is not just a garment; it's an expression of one's inner self. The energy of the city is palpable. It's a city that never sleeps, where creativity knows no bounds. This energy infuses my work with a sense of vibrancy and dynamism. It pushes me to constantly innovate and explore new horizons in lingerie design. In essence, Berlin is not just a backdrop for Amoreze; it's an integral part of its DNA. It's the source of the brand's boldness, its celebration of individuality, and its commitment to pushing the boundaries of lingerie design. Berlin inspires me daily, reminding me that in creativity, as in life, the sky's the limit. Wanna tell us about the brands journey, where are you today?  Certainly, the journey of Amoreze has been a captivating odyssey of growth, evolution, and a steadfast commitment to our core philosophy. Today, we stand as a brand that celebrates individuality, empowers self-expression, and crafts lingerie that is not just beautiful but deeply personal. From Inception to Empowerment: Amoreze was born from a personal need, a desire to create lingerie that truly embraced and celebrated individuality. It began with a simple idea: that ill-fitting bras were not just uncomfortable but also contributed to poor posture and a lack of self-awareness. This insight led to the inception of Amoreze, a brand that aspired to empower women through perfectly fitted lingerie. The Shift to Sustainability: A pivotal moment in our journey was the decision to embrace sustainability wholeheartedly. This wasn't a mere addition to our values; it was a complete transformation of our sourcing, production, and operations. We recognized the need to minimize our environmental footprint and adopt ethical practices. This shift resonated deeply with our audience, who sought brands with a conscience. Community Engagement and Belonging: Another significant milestone was our commitment to community engagement. We became more than just a brand; we became a community. Through workshops, interactive sessions, and open dialogues, we fostered a sense of belonging and togetherness. We listened to our audience, valued their input, and made them an integral part of the Amoreze family. Innovation and Customer-Centric Approach: Innovation has been the heartbeat of Amoreze. Whether it was introducing eco-friendly materials or incorporating customer feedback into design, we evolved continuously. Every piece we create is a testament to our commitment to quality, sustainability, and a customer-centric approach. Impactful Stories: Our journey is marked by impactful stories. From individuals who found newfound confidence in our lingerie to our sustainability initiatives that foster environmental consciousness, Amoreze has become a catalyst for positive change. We've not only transformed wardrobes but also empowered individuals and communities. Looking Ahead: Today, Amoreze is poised to continue its journey of growth and innovation. We're diversifying our product range, introducing new categories that resonate with our ethos of empowerment and elegance. We're expanding globally while maintaining our commitment to local craftsmanship and sustainable practices. Technological Integration: We're embracing technology to enhance the customer experience, exploring virtual fitting rooms and AI-driven style recommendations. Our upcoming projects include artistic collaborations, community-based initiatives, and an educational series to educate our audience about sustainable fashion and self-expression. Influencing the Fashion Industry: Amoreze aspires to be at the forefront of the sustainable fashion movement, advocating for ethical practices and promoting individuality and self-expression. We aim to set new standards in the lingerie and fashion industry, envisioning a future where fashion is a positive choice for both individuals and the planet. Amoreze designer and kink underwear How does the future look for you and Amoreze?  As we expand globally, we remain firmly rooted in our commitment to local craftsmanship and sustainable practices. Our aim is to create a global brand that feels incredibly personal and conscientious, no matter where you encounter it. We want to connect with individuals worldwide, offering them the unique Amoreze experience. Amoreze is looking forward to engaging in artistic collaborations with talented artists, designers, and influencers who share our vision of empowerment and sustainability. These collaborations are not just about creating products; they're about weaving stories and experiences that resonate with our audience. Plans are underway to launch community-based initiatives that involve our audience more deeply. These initiatives include workshops, design contests, and sustainability drives that encourage participation and foster a sense of togetherness. We want our community to feel not just heard but actively engaged in shaping the Amoreze journey. Our commitment to advocating for sustainability, promoting individuality, and setting industry standards remains unwavering. We aim to be at the forefront of the sustainable fashion movement, sharing our practices, challenges, and successes to inspire and influence other brands to adopt more ethical approaches to fashion. In essence, the future for Amoreze is a vibrant canvas of creativity, innovation, and a deep connection with our community. We are not merely navigating the future; we are actively shaping it, crafting a legacy of empowerment, elegance, and ethical responsibility. The journey ahead is one of boundless possibilities, and we invite everyone to be a part of it. Follow Atelier Amoreze on Instagram.

Photo by: Zee Maria Osh Alan Oldham gives his view on the UNESCO protection of Berlin Techno We catch up with the Detroit techno pioneer Alan Oldham AKA DJ T-1000 who was one of the driving forces behind the UNESCO campaign for ‘Berlin Techno’, spearheaded by Rave the Planet. What does this mean for the scene and for Berlin as a city? Like everyone, I’m waiting to see what practical benefits there are from this status, but in theory it ratifies the Berlin Techno scene as culture worthy of protection on par with museums, libraries and historic buildings, not just a bunch of clubbers taking dr-gs.” – Alan Oldham. Protection from what? Gentrification and erasure of community spaces are the main enemies. Berlin has already lost many great venues like IPSE and Fiese Remise. There are concerns that the campaign focuses on Berlin, and not Detroit. Are you scared it would make people forget about the roots of where techno actually comes from? Nope. Detroit Techno has been around for almost 40 years. Everyone who knows electronic music knows that my hometown Detroit is the birthplace of techno. Many Detroiters are living legends who are still relevant and leading the way creatively. When campaigning for UNESCO status, it was in the back of our minds (myself, Dr. Motte and team) that Berlin was just the test case. And if successful, other cities with rich musical and creative histories could apply for the same UNESCO Intangible Cultural status. Of course, culturally, the USA is a different place with its own challenges. We shall see!

By: Amanda Sandström Beijer Photos: Duran Levinson Elli Acula for Playful Magazine As part of the Spandau20 collective, Elli has recently exploded as she’s been proving her talents and creating fuming energy on dance floors from PITCH festival in Australia to Berghain in Berlin. We catch up with the artist about what’s shaped her, made her laugh and get to know some unexpected facts as well as a few technical things. Born in a small village in Germany, Elli Acula describes herself as a dreamer, a rebel, and a night owl, even as a kid. Always interested in music and discovering new tunes together with her friend, the interest in electronic music has been clear from the start. ”When I was still a kid my best friend and I started to collect CDs with all kinds of music on, mostly compilations. At one point we discovered electronic music by their crazy-looking covers. In the beginning it was stuff like Moby, Daft Punk, Planet Soul, M.A.N.D.Y, Da Hool, Marusha, The Prodigy, everything that sounded new and interesting to us. We weren’t even dancing to it back then – just listening – over and over. And of course, we would be constantly talking about it! We even started to battle each other over who would come up with the newest and dopiest discovery. It was all about impressing the other one with the sickest sound or song. Later we started to buy and collect vinyl records and the competition continued.” ”Right now, as we talk about this, I remember the exact feeling that I got back then, and I can truly tell that it still feels the very same as when I was a kid, digging for vinyls for hours and hours.” Some years later Elli was supposed to save money for her driving license, and long story short – the license isn’t taken to this day. ”Instead, I spent all the money that I just saved for my driver’s license on two Technics SL-1210, a small two channel mixer and headphones and was finally able to practice by spinning my own record collection. And to be honest, I never regretted or doubted this decision for even a second”, Elli says and continues; ”I’ve had them for a decade now and after heavy use of the headphones, they just literally broke last week. I loved them and they don’t make them anymore. Luckily, I just found a second-hand pair online and I'll try to use those for another decade.” As anyone who got started with their passion and want to be able to do it full time, there are of course challenges to face. Elli however, is pretty relaxed about her view on ’getting somewhere’. ”Don’t be too hard on yourself, especially in the very beginning, just take your time. For me it was very intimate and emotional when I started producing, I wasn’t even telling people that I was. I kept it mostly to myself, like my very own secret world. ”It’s fun to explore different genres and to be experimental. Our world and the systems we live in are so much about rules, but with an open mind the process can be a great way to feel freedom. Regarding the technical side, watch out for free plugins and look out for Trials – many companies are dropping things like this on a regular basis. Work with the things you got. For example, you can use your phone and (field-)record basically any sounds that are interesting to you.” Elli Acula for Playful Magazine Elli is a person that doesn’t slow down. Being a Creative Director on the side from her touring schedule one may wonder if she ever sleeps. ”The last few years I’ve been on different missions, trying to create a space where ideas can float as freely and be as innovative as they could be. I learned to believe in the people I work with and look forward to sharing many more beautiful experiences and knowledge together.” ”Lately a lot has happened, and it made me go through a lot of emotions as there’s been so many first times for me. Not only did I do my first tours around Europe, South America, and Australia, but there’s been a heavy contrast of coming home from a gig on Sunday night and having the urge to sit up and produce music the whole night due to all the inspiration I’m feeling – yet having to wake up early on Monday mornings to sit in a meeting room after having the least sleep I’ve ever had. I’ve realized that not sleeping won’t prevent me from creating music.” Touring the world doesn't change the fact that Berlin equals home for Elli. Not only the studio and the collective Spandau20. But also, the clubs and club-goers in the city. ”I immediately felt at home in the clubs in Berlin and consistently met interesting souls who inspired me. Even if we just shared a brief moment during the night or on the streets in the morning. It’s all magic to me. The music scene in this city is a place that nothing can compete with. During the last years I found that it’s a place where I can switch off, reboot, and reconnect with mind, body, and soul. And the most special thing to me is that I always know that I’m not alone feeling this way.” Elli moved to Berlin over a decade ago to be free, study art and design and dig deeper into electronic music. ”Berlin has always been my city of choice. I just naturally knew that this is the right place for me. When I was a teenager, I moved to Kreuzberg into a super cheap and small room with people I didn’t know anything about. We met for the first time the day I arrived at the place with all my belongings. After my stuff was stored, we literally went directly to a club. It may sound crazy but the first night I was out in Berlin, I randomly met some of the people who I now call family.” ”Berlin is yet to bore me. We’re living in a city that contains so many different cities, and that’s wonderful. You can stay in your Kiez and suddenly you’ll know almost everyone – from people hanging at the Spätkauf to the grandma from the flower shop with her parrots in the back room. It can become a cozy home. But on the other hand, you can just walk or jump on the U-Bahn and land somewhere with a completely different vibe. Living in Berlin means always having an adventure to experience, an inspiration to find out about, and there are always more subcultures to experience.” Elli Acula for Playful Magazine A day off in the Summertime in Berlin for Elli would look like this: ”I would start the day early and go for a run in Görlitzer Park going all the way through Treptower Park to get a proper dose of nature and fresh air, of course with some new mixes blasting on my headphones. I would meet some friends after that and get some snacks near Kottbusser Tor, walk to Hardwax, and enjoy digging music. Probably getting hungry after this, and would then grab a late lunch at LIU ChengduWeidao, my second home since years now, and get some Tianshui Noodles. To really make the day complete we would have a mighty Hot Pot session with the whole crew. In the evening I would hit my studio again and keep on going with the flow until the sun rises again or go to a club to listen to a friend’s set or an artist I dig.” We will see how many days’ Elli gets to experience Berlin without working this summer, hopefully a few. Although, as mentioned, the schedule is getting busy. ”I’m excited for festival season for sure. It can be such a special vibe to dance under the warm sky and sometimes in the rain. Also, I miss when the temperatures are rising, and the club dance floors are literally boiling – gotta love a good sweaty dance! I’m also looking forward to these warm nights in the studio. I can tell you my studio in Berlin is boiling during the summer months. – „Beats are cooked, bass burnin’ like it’s lava (…)“ like Afu-Ra said once. Funniest thing that’s ever happened during one of your sets? One time I saw someone, who was about to drop a drink over the mixer while I was playing, and somehow, I caught the drink in the air haha. Nobody noticed it while I had to laugh super-hard and everybody was staring at me holding the drink in my hand. Another time people were dancing around me in the DJ Booth and somebody, while dancing, accidentally hit the cue button of the player that was in the mix – the music stopped – I counted to 4, hit the button and the party went on like it was a dope drop. I honestly love moments like this, it’s raw, it’s real. Something not many people know about you? My favorite Mario Kart character is Bowser plus I visited a dark room in Animal Crossing. 10 quick ones: Hands on or follow the flow? Hands on and cherishing more and more to follow the flow Big steak or oysters? Neither of the two – Hot Pot it is!!!! Atheism or Spirituality? Spirituality Museum or theme park? Museums for the chill, roller coasters for the thrill Inner Goth or Social-is-fuel? Both Dance floor or Toilet queue? Meet me front row BIG Festival or small cellar gig? It’s all about balance Psychology or Energy healing? Psychology works - but also open minded for energy healing Bahamas or Tokyo? Tokyo Mario Kart or Tekken? Mario Kart

By: Amanda Sandström Beijer Illustrations: Sam Madhu Art by Sam Madhu for Playful Magazine Inspired by ancient culture and futurism. Sam’s vibe is modern, dark and deep. We got intrigued, looked closely until we fell into the hole, right into the dark depth of space where you hear industrial techno like an echo. That’s where these animations are being evolved and brought to life. Welcome to Sam’s world. ”I’m very introspective, like, I talk a lot to myself and have debates going on in my head all the time. I think that makes me learn quickly and pushes my eagerness to evolve.” Inspired by ancient culture, Sam used to illustrate Hindu gods and mix the way they’re normally represented, with her own imagination, futurism - even kink, something that made her become a target for the right wing in India. ”I used to get a lot of threats. Actually, I still do. There’s a lot of right-wing energies that are completely against what I’ve created, and against the freedom of expression”, she says and continues. ”It’s really complicated, because that’s how I got popular. I created modern illustrations of Hindu gods and goddesses, and no one had really seen that before.” Sam has some days woken up to over 2000 hate messages on Instagram, mostly from fascists in India. ”Every time I’m creating something that’s controversial, I’m putting myself in danger. Although, most of the haters point to an artwork that I created five years ago. It’s causing a lot of stress, because I still want to create these goddesses, but I’m telling myself that I should create it in ways they cannot understand.” ”If they don’t know what I’m talking about, they cannot touch me. It’s come to a point where I put the right of expression against my safety and try my best to reach a land in-between what I want to do and what I can get away with. Although this hinders me from being free within my imagination and creation. It’s just sad because there’s so many young people that got very inspired by what I created, and felt it was very liberating. The things I drew weren’t disrespectful, they were just new.” Judging from her past illustrations, you can see the similarities, but also the differences with the animations she’s creating today. ”Even within these series that I’ve created for Playful, they are reinterpretations of ancient culture. My cover person is still a goddess, but it’s so layered that I don’t think people will understand how they can criticize me. She’s very inspired by my view on Berlin and has Berlin-aesthetics with her shiny black latex skin.” ”I love the idea of digital skin, as you can create leopard skin or metallic skin. It’s so cool. The chains and piercings she’s wearing are also rooted in how I feel that many trends are using metal currently, maybe especially in Berlin and in the underground scene.” Sam comes from the south of India, moved to New York as a 17-year-old for studies in design and technology, where she lived for almost seven years. A city that also inspired her within new media art and using 3D programs. But when her illustrations got big attention, she decided to pursue the artist dream in her native country. ”My work got popular in India, so I decided to quit my job in New York to live as an artist, so I moved to Bombay.” Art by Sam Madhu for Playful Magazine Besides pursuing the independent lifestyle of an artist, Sam discovered the underground scene of the city and fell in love with it. ”I used to hate techno. I thought it was stupid and was really into hip-hop, but in Bombay everyone is listening to techno and going to raves, and finally I got into it. The first real big love I had was when DJ Volvox was playing. It was my awakening”, she laughs. ”When I was getting into techno, and started to listen aggressively to it, I was in a place in my life where I was going really fast and doing everything at a high speed without rest. I needed to get and feel everything at once and the techno I started consuming also shifted and got harder and more industrial to follow my life pace. It also inspires my visuals a great deal since I always listen to something while I’m creating.” Sam was not only being inspired by black and silver chains when it came to her art, but also by the way she dressed herself. ”Walking around like that in India you just look insane, as everyone wears a lot of colors. My mom always questioned me and why I was so extra. Growing up I felt very different from everyone around me, but I found more similar minds online, and that’s why I used to hang out there. I made friends with a lot of artists there and started creating art myself when I was 12. Since then, I’ve always been very interested in creating things with technology. Sam moved to Berlin amid the pandemic. and got intrigued by the city through many of the techno streams she used to follow during the lockdown. ”I enjoy going back to the darkness within, as I’m a pretty dark person and fuel that by digging my own hole of energy. Music makes me see movement – if I’m creating a building, I can see it rise through music. The dream is to bring my vision into reality, that’s what I want to do.” Art by Sam Madhu for Playful Magazine Besides the music, Berlin is attracting her in various other ways, and maybe also somehow the city even called her in ”There were so many signs for me to move here. I wouldn’t say I’m very religious, although I definitely believe in the universe and signs. I think there’s a force looking out for us, but in order to access that power you must ask – and then in a way, also believe. Ask for answers, ask for signs and have a conversation with yourself. But I’m not religious, even though I grew up in a very religious country. I just don’t believe in religion as an organized practice. To me, it’s all about the inner conversations and the power that withholds, and that’s what I believe also brought me to this city at this time.” Art by Sam Madhu for Playful Magazine ”I had an idea when I moved here, I thought I would love the city for it’s darkness and the techno, but the reason why I love it today, and the reason why I stay is because it’s letting me be exactly whoever I want to be. Your identity in Berlin is not about what you do for work - it’s about how you play.” Having experienced Bombay, New York and now Berlin as an artist, it’s clear to her that her art changes depending on the surroundings. ”I am inspired by cities and the ones that influenced me the most in the past are obviously New York and Bombay. Now I’m in Berlin – this box of a city with buildings, buildings, buildings, which I love – abandoned buildings, but also the industrial huge spaces. Places like Kraftwerk, and Berghain for example. But also, the galleries. When I visit galleries here, it’s just so much space, and when you have space – there’s room for you to visualize so much clearer. I guess I’m obsessed by expansion in other words. Either I expand spaces myself through animation and that can seem similar to space, or I get inspired by spaces, and that can be anything; a gallery, a city, a factory, a club, even nature”, she says and continues; ”I like brutalism. But I’m also inspired by trends. When BladeRunner had just come out, I got very much into cyberpunk for example. Now I’m more into alien forms, metallic, body armor. People who create all kinds of things with metal can really inspire me, that’s how I got into floating piercings and all that. The kink scene inspires me – basically anything that has a clear aesthetic. I love black and I love silver, and kink very much embodies that. Latex, leather and heavy silver chains”, she dreams out loud. ”I love making people feel as if they’re inside of the artwork. I wanna create giant worlds, and have people experience those worlds. Spaces that can’t exist in reality –.” Comparing the three cities and how they influenced her work – it’s obvious to her that she needed all of them to capture the creations she crafts today. ”New York is the city that made me who I am. It taught me everything. It’s like a frying pan; sometimes you must get out because otherwise you’ll get burnt. It’s always going, and you’re making use of every second of every hour. 8 million people, all trying to make their dreams come true in a city where you have endless options when it comes to anything. But it doesn’t really give you space to take a breather and contemplate, something that I was missing. It doesn’t have space physically nor emotionally as everyone is competing.” ”Bombay is very similar to New York. It’s 20 million people, so more than twice as big and even more intense, but in a different way. It’s intense because people must fight for their life, meanwhile in New York people are fighting for their career. In my opinion Bombay is the best city in India. I have some amazing memories from there, very high-octane, like a cyberpunk Indian movie and that was cool. If you go to an underground club there, they don’t speak English.” ”Living as an artist in Bombay is a big privilege. The idea of the underground is very fragmented there - you’re dealing with a country that doesn’t have much access to the rest of the world. People don’t have money. And the people who do have money didn’t see the bigger picture I perceived. That’s also why I had to leave.” Art by Sam Madhu for Playful Magazine Sam declares that she needed to go back to India to get in touch with that part of herself to get more clarity on what her art involves, and what she creates. Something that may not have been as clear, had she moved straight to Berlin from New York. It’s clear though that living in Berlin, at this time, allows for an expansion that she needs. ”It’s funny with Berlin. You can be whoever you want to be; if you wanna be a person who’s’ chasing money, you can, if you want to be an artist and having all the freedom in the world, you can – and that’s what I love.” ”The one thing Berlin doesn’t have is big buildings. I love skyscrapers and all that, but it’s okay. It has so much space for me to make the best out of my imagination. I think I’m reaching my best artistic potential in Berlin.” Reflecting on the cities impacts upon her work, Sam means that she tried to break free and stand out in New York in a way where she ultimately lost the sense of what it meant to her. ”I tried to get attention and wanted to be seen. Therefore, my work was the most controversial when I was living there. In Bombay I had finally become a bit known, so I had a lot of opportunities, offers and freedom. So, there I was – experimenting a lot. I did music videos, installations and all kinds of things. I had time to do all the things I wanted to do.” ”In Berlin my work is more about staying true to my vision. I’ve tried everything, and now it’s time for me to focus on how I can tell my story in the best way and come home to my own reflections with a bit more peace and quiet.”