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5 of our best flea markets in Berlin. Photo: Emma Maar The best places to cure your hangover. Markets in Berlin are a culture in itself. They give you a glimpse into each neighborhood, while giving you a reason to get out of yours. We guide you to Berlins best markets, as well as recommend some delicious finds. Wochenmarkt Boxhagener Platz Every Saturday 9:30- 15:30 Boxhagener Kiez is a lovely neighborhood, every Saturday it becomes filled with delicious food and fresh produce, as well as other great discoveries. My favorite hangover cure, are the Ukrainian/Russian dumplings, specifically the potato dumplings, with extra sriracha sauce and parsley. Flohmarkt am Rathaus Schöneberg- Every Saturday and Sunday 8:00- 16:00 This market is great for antique finds, books and all sorts of miscellaneous second hand goods. Rathaus Schöneberg is located right next to Volkspark Wilmersdorf , which is a beautiful park to spend a Sunday afternoon. Karl August Platz Markt Every Wednesday (8:00-14:00) and Saturday (8:00-13:00) Every Wednesday and Saturday Fresh produce, flowers and small delights surround the beautiful church that lies in the middle of Karl August Platz. There is a food truck which creates a killer Halloumi Burger worth fantasizing about. Arkonaplatz Market Every Sunday 10:00-16:00 This is a very good alternative if you want to avoid tourists and massive crowds in Mauerpark, since it just walking distance apart. It's a place to get furnitures from the 50s and 60s in various condition. Except from that, you'll find old camera equipment, art, clothes and lots of vinyls. We love this cozy neighborhood market. Nowkoelln Markt Every second Sunday 10:00- 17:00 Located by the spree, this cosy flea market's focus is on second hand clothes, art and music. But also various selections of hand made jewelry. Hipster alert, but we're all hipsters.

By: Filip Sandström Beijer Photos: Henry Belasczesckul for Marta PR The 75-year-old techno influencer is currently surviving on his memories from his wild pre-pandemic days. Now he can’t wait to resume ecstatic dancing with his fellow rave Berliners. Günther Krabbenhöft is probably Berlin's best dancing 75-year-old and one of the city's biggest joy-spreaders on social media. And for me, coming from the countryside, life in Berlin was very exciting. Moving from the countryside and a small village outside of Hannover to Berlin in 1968, Günther Krabbenhöft arrived in a city split by a wall. “Berlin has always been changing. This city is never finished. When I came to Berlin in 1968, it was still a walled-in front city that was only accessible only by plane or in a complicated way via roads through the GDR. And for me, coming from the countryside, life in Berlin was very exciting.” In Berlin there were restaurants, clubs and bars that caught Günther’s attention, but as a family father he lived what he describes as a relatively normal life, watching what happened in the leisure and party sector as the city developed. Today he’s personally connected to that scene, something that became an ingredient in his life quite late. “When I first moved here, I was married and had a family, so I didn’t go to clubs that much. That only happened much later, around 19… Oh my god, let me think… Maybe 12 years later, that’s when I started diving into the clubbing scene, which was a real revelation!” When Berlin was still split by the wall he describes West Berlin as a smaller community easy to get an overview off. “We went to the hippest bars and discos in Berlin, for example the “Dschungel”, and we knew who we would meet there, and who were the important or interesting people who were dancing in certain other discos. Of course, there were always a handful of the coolest places, but the “Dschungel” was the bomb for me personally, and that’s where I went.” This was a situation where much was possible – illegal clubs started to emerge, parties that were only announced shortly in advance became common… After the fall of the wall, when the eastern and western parts of the city united, a lot of new places opened up and Berlin quickly changed. “This was a situation where much was possible – illegal clubs started to emerge, parties that were only announced shortly in advance became common… All these things were opening up, and it was a crazy exciting time.” “Right now, I am surviving only on memories of those wild days of the past.” As for most of us, 2020 was a year of unpredicted change with the pandemic. For Günther Krabbenhöft, who luckily kept busy with his debut book release. ”It was hard for everyone, and for me as well. In 2020, I was in the last phase of the publication of my book “Sei einfach Du” (“Just be You”). I was very busy with that, and initially I was only noticing the restrictions in the periphery, because I was so immersed in my project. Of course, we could all feel the limitations, but there were still possibilities. I didn’t feel like it was too hard for me. In summer, there were still some events where we could dance, while sticking to hygiene rules. At some of these events we had to wear masks. There were restrictions, but still it was possible to do things.” “At that point, I was really focusing on thinking positively, on how we could adapt and make the best of this new, different situation. This freed up new thoughts and energies as well. Meeting friends and staying busy with my project is what helped me the most to keep up my good mood. So, I didn’t feel that this was a problem for me during that period.” If 2020 was a year that caught us off guard, 2021 is a year of hope. We’re looking into a spring and summer with open airs and hanging out with friends again. Günther can’t wait to visit friends and family, but he also longs for clubs and dancing. “I will definitely do some wild, ecstatic dancing with hundreds of people who love raves, techno and house music as much as I do. I’m so much looking forward to being part of an ecstatic crowd again and that feeling of being carried by the music and being shot into outer space, and then blissfully coming back down to Earth after many hours, having this feeling that I always used to have after a great night of clubbing: floating like a hovercraft and just thinking: ‘Wow, how amazing is this feeling, to be able to experience the music and these ecstatic moments together with so many people!’ This is what I would love to do as the very first thing!” Sometimes Berlin is like a slightly rough friend, who can drive you crazy Living in Berlin for so many years, Günther’s persona is connected to the city. He doesn’t praise Berlin for its esthetics but for the people living here and creating it. “I think the best thing about Berlin is the people! It’s the people who make Berlin what it is. Of course, Berlin has many nice places, but it’s not in itself a beautiful city. It’s an exciting city, and it’s so special mostly because of the people who live here. I always say this, this is the unique thing about Berlin. Coming together with the people here, the exchange and the spirit – that’s what I love about Berlin. Sometimes Berlin is like a slightly rough friend, who can drive you crazy, but at the same time makes you feel so much love and can give you so much affection! That’s how I see it, and that’s what Berlin is for me: Berlin is simply the best!” In other interviews Günther is often referred to as the “hipster grandpa”. We’re asking him what he thinks of the nickname. “I find this a little silly, I don’t know who came up with this idea to call me a hipster Grandpa. I have a picture of a hipster in my head, and it’s a cliché, it’s putting someone in a box. A hipster is someone with a manbun and a fixed-gear bicycle and an organic cotton carrier bag over his shoulder. No, that is definitely not me.” But once the media have given you a label like that, it can be really hard to get rid of it – something he experiences. “On top of that, someone also claimed that I was 104 years old, which only added to the hype! And I was just thinking: ‘Oh, great…’ At the beginning I was annoyed and tried to correct the facts, but then I thought: ‘Wow, if I can be 104 and still have so much fun and joy in life, then – yes, I would like to be 104 and live the kind of life that the media is ascribing to me’” As a long–time Berliner in love with the rave and techno scene, Günther’s club memories abound. Most of them involve meeting new people. But there is also some naughty stuff that he insists on keeping to himself. When we try to push him, we get the answer: “ You see… That’s a question where I have to be careful not to get myself into a sticky situation… My wildest memories are not appropriate to be printed, and I do not want to make them public. The wildest memories are always the ones you prefer to keep to yourself, or maybe only share them with your very best friends. They don’t belong in an interview. Otherwise, the interview would get censored, if I was to actually, tell you my wildest memories. So, I’m going to remain silent on this and just enjoy my memories.”

It’s a theme in Berlin to do businesses on low culture rather than high culture. Some people jester in front of cars waiting for green light, and others spank people in clubs. Playful got curious about Kamila who makes very ugly plates. Yes, they’re named Very Ugly Plates. Why Very Ugly Plates? "I knew they will be naughty and in polish "naughty" is the same word as ”ugly”, like dirty in english. I didn't like to go with "dirty" as no one likes dirty plates, and I like when people tell me that they’re not ugly." How did you get the idea to start making them? "I support some charity organisations in Poland and one of them was organizing an auction. I saw there was a cute mini plate with baby seals and it was so cute that I wanted to paint something dirty on it. The whole idea started from that point. When I was waiting for that plate to be announced for bidding, I bought another one, which says happily unemployed. I posted them on Facebook and all my friend went crazy, so I decided to continue that project and open an Instagram account" What people buy them? "Every person with a sense of humor may buy my plates! Age, sex or religion doesn't matter. It's important for me to have different plates so everyone can find something that would make them smile. Some of them are super naughty, and some are just cute and family friendly." What about Berlin inspires you with the motives? "Berlin is an absolutely special place for me. It's my home that I chose when I was a teenager. It gives me a lot of disappointment, and I guess that’s the most inspiring feeling to me. Most of the plates were inspired by some events with my friends. Currently on my Instagram I let people guess if it was based on a real story or not and after that I told the story behind." Which one is THE ugliest? "The one with a hand painted dog from the 80s that says 'mom says I'm marvelous'." What does your grandma say about these plates? "My grandma is dead but the rest of my family loves them. As my parents don't speak english, I always translate to them what it says on the new plates. Though I skipped the one about squirting since I was worried I might have had to explain what that is to them."

Playful met Lucy at an empty MONOM before his underground label ’Stroboscopic Artefacts’ celebrated its ten years anniversary. Written by: Amanda Sandström Beijer Lucy Morellaro The huge space at MONOM is empty as they’re building the coulisse where people will start entering in a couple of hours. We talked to Lucy, the nom de techno of Luca Mortellaro, about his past ten years in the city and about Berlin’s unique energy as well as the club death and of course, his own record-label that has passed the ten year mark. ”I want to create something that is cutting edge. Something that is pushing forward from where the scene is standing at the moment.” The name Lucy is an old story - not only is it the name attributed to the oldest human remains ever found, it’s also the pseudonym that Luca Mortello used when he was still writing novels and short stories. ”When I ’transformed’ from a writer to a musician, which was a continuation of my way to express myself, I kept the same artistic name.” Lucy moved to Berlin eleven years ago to start his now ten years old label - Stroboscopic Artefacts. ”I moved to Berlin in 2008 because it was a very open place to start a record label. It isn’t anymore though, but back then it was. Not only did he release the compilation ‘X - Ten Years of Artefacts’ featuring key artists from the label such as Luke Slater, Rrose, Efdemin, Shifted, Chevel, Alessandro Adriani and also Lucy’s collaborations with Rrose (Lotus Eater) and Speedy J (Zeitgeber) . But this January he followed it up with a second release where he revisited four pivotal tracks from the imprint’s catalogue originally by Donato Dozzy, Caterina Barbieri, Lucy, Ben Klock and Xhin . Hearing all these names, you kind of get a feeling that Lucy isn’t strictly limited to music, but also excels in managing energies between people. Though he might not express it like that. ”When it’s about making music, I can’t be political. I cut it short. If there is no feeling, I’ll end it immediately. I normally have a good ability to feel this, and then I stop it straight away. For example when I feel that things are not spontaneous somehow or if there’s too much expectations or too commercial. I am not interested in that.” And if you wanna create stuff that is progressive I guess you can’t compromise? Anyway, meeting Lucy I understand that he doesn’t wait around. He’s effective, witty and responsive. I’d like to deduce that he has tremendous respect for underground music and its development. ”The underground music industry is so dynamic. It’s so evolving, so quick and so wild, that for what I want to do, which is creating something that is cutting edge. Something that is pushing forward from where the scene is standing at the moment, and if you want to do that, then you need to be constantly on the alert about what is going on around you. Not only when it comes to absorbing what is going on, but also that you are actively contributing through the platform to that scene. It’s like a two-sided, very complex relationship.” Outer or inner pressure will often kill inspiration. But to Lucy it’s pretty much the opposite. Though he uses some techniques that come handy when outer and inner pressures are out of balance. ”When I feel that too much is going on inside me emotionally, I need to calm it down somehow and that is where I use a lot of techniques that belong to meditation, yoga and these kinds of things that I am also very passionate about. They’re tools I use to smoothen down some pretty harsh cores of my creativity so that they don’t become self-destructive. I have to be in balance between these tensions.” ”I don’t think there is any other place in Europe that has such a concentration of extreme energies as Berlin” Having lived in Berlin for more than eleven years, me and Lucy discuss what makes the city a creative hub - what uniqueness you find in Berlin that some of us can’t seem to find elsewhere. ”I think the most amazing thing about the city is a direct consequence of its history. I don’t think there is any other place in Europe that has such a concentration of extreme energies over the past 70-80 years. So todays Berlin is the result of that. I don’t think there are any places, that have so much cultural intensity going on - from World war to Cold war, to a wall dividing the city and then the fall of that wall - to screams of freedom and anarchy. The incredible boom in the artistic community and a very interesting capital that has been protected of gentrification for a while. And all of a sudden it's completely falling in to that trap at a crazy pace. That’s what is interesting to me about Berlin. These kinds of wild energies that go from one place to another. I have never seen it as a balanced place.” ”Even though these people didn’t give a fuck about earning money – it was really mostly about clubbing in a very anarchistic way.” It’s probably these energies that make people feel free, independent and relaxed here and that attracts tourists from all over the world to its club scene. Although, simultaneously, times are changing and we are facing a phenomenon some call the ’Club death’. ”It’s a big problem that clubs are threatened in Berlin. The same phenomenon that clubs have been feeding on is now also destroying the clubs, in a way. These huge waves of tourism are fueling the city, and for the last 10-15 years there has been so much of this money reaching the underground scene, even though these people didn’t give a fuck about earning money – it was really mostly about clubbing in a very anarchistic way. And it’s not like that anymore. Now instead it’s business plans making their way, and when that kind of money starts to invade a city, it changes. Well the reason why the city started to explode was the same as always. These phenomena in a capitalistic system bring up the other side of the coin. That’s the circle completed, you can’t escape it. You can surely take measures to suspend it, but that’s something that belongs mainly to politicians, sadly. And most of the time they have a very specific mind-set, and they’re not in contact with the underground culture. And the underground is the one big soil of the club scene in Berlin.” Luca is not the kind of person who prepares himself for what is coming, neither thinking of stuff he did, as ’mistakes he could have avoided’. Instead it’s very important for him to let life be. Same goes when it comes to the Club death - not getting nostalgic but instead looking back with joy as well as forward to the future. It’s not difficult to understand that his preferred parties in Berlin have been when he himself has performed. ”Label showcases particularly in Berghain. Those have always been very special, because it’s something beyond clubbing. This is a totally special energy board that is always transcending into something else. It’s been extremely beautiful and a big fuel for my creativity as a platform. As well as some of my closing sets, when I have been playing for 13, 14,15 hours for a very open-minded crowd”, he laughs. Lucys 3 favorite clubs in Berlin: – Berghain – OHM – Some of the Herrensauna parties

Playful Podcast is releasing a New Years Episode with our only techno guru Nur Jaber. Nur Jaber in Playfyl Podcast The Beirut born producer and DJ is a leading figure on Berlin’s techno scene, and she’s also a spiritual being – we therefore think it’s the perfect fit to welcome 2023 together. In this episode we speak about: All things woo-woo, breath work, morning routines that will make you feel at peace, manifestation - and Nur is sharing her tips on how to manifest what you want for 2023.

We speak to Samantha Togni about her upbringing – feeling as a misfit in Italy, the free party movement in Italy, choice of pursuing a career within music, and of course – the push for equality within the scene and her work behind Boudica, a platform aimed to give visibility to women, trans+ and nonbinary people. What 3 words would you use to describe yourself? Resilient, curious, kind Who were you as a teenager? As a teenager, I used to live in a remote corner of Italy, where there wasn't much happening, especially in terms of arts and culture. Growing up in that environment, I quickly realised I didn't quite fit into the highly heteronormative standards of the village. Around the age of 12 or 13, I randomly found a CD of "Suffer" by Bad Religion at the local library. That album opened up a whole new world for me. I started to get into Punk and Hardcore and being a child of Myspace that platform allowed me to get out of that village even if it was just online. I connected with other misfits across Italy who to this day are part of my close circle of friends. From the age of 14 I was travelling up and down Italy to go to shows. It still blows my mind how much ground we covered just to get to different venues, squats, to catch our favourite bands and simply be together. I remember vividly my first gig at the legendary La Gabbia (The Cage) in Bassano, where I saw The Exploited. My parents were out of town and told me to stay at home, of course I followed the instructions by jumping on a bus and travel for 200km to go to the gig.  I will never forget the feeling in that room while we were all there soaking in sweat under one roof - it was all about belonging, freedom, community. We were part of something, without judgement or need to conform. It's this ethos that I carry with me into my work and with Boudica. My aim is to create a space where others can find acceptance, embrace their true selves and feel the same sense of liberation that I found in those early gigs. My mum is one of my best friends now, tho I still have not told her the story but yes, we can definitely agree that I was a naughty teenager. Was there ever a specific moment when you decided for a path within electronic music/ could you tell us about that? The last year I spent in Italy I connected more to the free party movement and again travelled up and down Italy for my first raves in Florence, Arezzo, Turin…Raves were filled with Tekno, Frenchcore, Hardcore Techno, people and attitude were very similar from what I experienced up until then and I was hanging out in both the raves and gigs scene. It all was part of one world to me. When I was 16 I went for a Summer in London, I worked there giving out flyers and I honestly was totally hooked by the city. I was not even 18 when I moved to London, and that’s where I totally fell in love with Electronic Music. I loved those years because everyone was playing such hectic selection of music and DJs were definitely more brave.. from bass to nu-rave, house, garage, techno - there was no rules and no snobs, this said, to blend all this different stuff together there was definitely a lot of taste and research. From Punk years in Italy to free parties to London raves, I knew that music would have played a major component in my life. A few years later I was a core member of queer collective called Dirty Diana, I started DJing the opening slot and it snowballed into what is a career and this silly and amazing life I am living. What would you do for work if music wouldn’t be an option/ and why? Right now, I’d be drawn to something completely different—probably a return to the land, away from the city. I want to reconnect with nature and get my hands dirty. Pigs and donkeys have a special place in my heart, so I’d happily devote my life to caring for them. A life away from screens sounds pretty dreamy.To be honest with you, I am already building something related to this, me and my mum and sister share a special bond and we’re launching a vegan farmhouse in Tuscany this year. Being plant-based for over a decade is something that's really important to me. 10+ years ago I read Jonathan Safran Foer's "Eating Animals” and have not looked back since. Building this it’s a dream we are making reality and luckily without having to give up Techno.  Have you ever felt that music is separating women and non binary folks? If so, could you tell us what that can look like/ What you’ve noticed? Music has historically being a reflection of societal norms, including those related to gender, with most genres and industry roles predominantly dominated by cis white males.  Sexism is entrenched within the industry with roles such as composers, producers, being predominantly occupied by male figures. This lack of representation make it less likely for women, trans+ and non-binary folks to consider it as a career. Sexual harassment is a real issue, especially for FLINTA* individuals within the music community. Our industry and culture needs to change completely to allow female, non-binary, trans+ people and other gender minorities people to feel safe on stage, behind the scenes and on the dancefloor. Representation is crucial for inspiring the next generation of music. If you can’t see people that look like you in certain roles, it becomes harder to picture yourself undertaking a career in it. Leading labels, organisations, venues, and festivals need to put their money where their mouth is and offer programs, opportunities, training, and education to amplify marginalised voices and create a more equitable ecosystem. Us independent collectives can make noise but it in comparison what we can do has limitations. It’s also important to acknowledge the progress that has been made, thanks to countless initiatives focused on diversity, inclusion and gender equity, as well as voices speaking out against sexism, sexual harassment and ageism. This has led to greater awareness and accountability within the industry. Things are slowly changing. Why is it important to support women/ queer people/ non binary folks in this business? Music is an art form that thrives on diverse perspectives to remain authentic. It's essential to have different voices talking about their experiences through music; imagine hearing the same story told by the same people repeatedly – it would be so dull. Everyone talks about the saturation of the music industry today, which I partially understand and can agree with. However I find it so amazing that it has become so accessible, a teenager in a remote area of the world with limited resources can create a tune using a crappy laptop, distribute it for ten bucks, and share it with the world. Music shouldn't be exclusive, it's something for everyone, especially Techno. You don't need to comprehend it fully, speak its language, or even be a good dancer – you just need an open mind and simply feel it. Not to be cliché, but it truly serves as a universal language. And if only a few can understand and speak it, it loses its ultimate purpose of connecting people, right? By giving opportunities to women, trans+, queer and non-binary folks the industry unlocks a new world of innovative ideas and networks that can push the music world to new exciting directions.It 's not just about representation; it's about reclaiming space and making sure everyone's story is heard loud and clear. We are building a future where everyone's gets the spotlight.This automatically also expands on who participates and consumes music, new audiences and markets will allow the music world to be more sustainable on a financial level allowing us all to thrive and keep on doing what we love. Can you tell us about your drive behind Boudica? I spent a few years teaching at this Music Academy in London, we had such a variety of people coming through but what really struck me is how young girls, trans+ and non-binary individuals, especially those from a lower socio-economic background, are made feel so invalid by a society that tells them they are not good enough or they could never fulfil their dreams and they are here just to figure out how to survive in this world.  These people have all the rights to thrive, and this is why Boudica was born - to allow them to flourish and access opportunities and knowledge that are gate-kept or not easily accessible. Boudica was established in 2019 as a platform for women, trans+, and non-binary folks. Shortly after its birth, we were hit by the lockdown. I had to find ways to connect with our community and continue our mission, and that’s when Boudica Music Conference was born. Even amidst the strict lockdown, I wanted to put together a series of talks between  my direct network of people working in music. It didn’t take long for it to snowball into a full conference involving the biggest music organisations in the UK and some truly inspiring individuals.  I put this on with no budget or sponsors, pretty much without an income at that point aside from teaching, it was not easy but I wanted for this to happen. People came together despite the circumstances to discuss ways to address the gender imbalance in the industry and inspire other gender minorities sitting at home during those challenging times. The conference is always streamed for free and available online. Prices for the in-person event are kept very low, and it's free for those who cannot afford it and students. It's crucial for us that everyone can access this information without any barriers.  The educational aspect of Boudica is a big part of the project. We have a partnership with Pioneer DJ and have taken our DJ workshops throughout Europe alongside our talks.  It has always been a dream of mine to have Boudica pressed on vinyl. Our label has hosted incredible talents like Jasmine Infiniti, Metáraph, and Animistic Beliefs and it continues to grow. In the spirit of Boudica, we always try to offer new opportunities to others. We opened up a track slot on the last vinyl we pressed, and the callout was open to the world. We received hundreds of applications. The artist we picked was then also mentored by the other artists on the vinyl and myself. At Boudica, we also love a party with our extended queer family and we are proud to call FOLD our home. This venue holds a special place in my heart and I am immensely grateful to Lasha and the team for providing us with this space and allowing us to bring our event and conference there.  What are some names that you’d love playing B2B with? A B2B with Peaches or Skin would be iconic What do you do to gain inspiration when feeling uninspired? I always block some time during the week to dedicate to music, and it’s rare that I have to stop producing  because I am not inspired. I don’t really look for inspiration, I try not to not overthink, usually starting with a kick and pushing myself to continue making music. I actually think that nowadays we are over-stimulated when talking about electronic music, with so many free tools and sounds available. I recently hard reset my computer after 10+ years. I had so much clutter on it - plugins, VSTs, etc. I packed away some of my synths that I wasn't using, and it honestly helped my workflow so much. Definitely the less is more approach helped me to get out of creative blocks. What’s your view on the touring lifestyle that nowadays DJ’s have? / And sustaining mental health as an artist? It’s definitely a real rollercoaster, and I've gotten better at navigating it, but I haven't mastered how to deal with it completely. On one hand, you have the buzz, the crowds, the adrenaline, and on the other hand, you constantly have to stay on top of things to maintain momentum, the sleepless nights, the travel - most of which is done alone. It does take a toll on your mental health because no matter how hard one tries, it's difficult to maintain a routine when you're constantly facing different timings and time zones. During the week, I stick to a strict sleep routine, eat clean, and spend time with the people I love. Having a strong network around you that supports you through thick and thin is essential. I am a bit of a workaholic and spend a lot of time planning, making music, working on Boudica, etc.. However, I am becoming much better at allocating time to focus on non-music-related stuff and prioritise. Also I am a big fan of podcasts, there’s this episode of Inner Truth with Jamie Catto from Faithless and it’s so good.. highly recommend. If you could dream - what would the electronic music scene look like in 20 years? /What would change? I hope to see more FLINTA*-owned venues, security team and people behind  the scenes representing diverse backgrounds - from sound engineering to A&R. More grants and funds allocated specifically for minorities and more recognition for artists from working-class backgrounds. Hopefully governments would have awakened to the importance of clubs for culture and the economy. I am very concerned for the survival of low to mid cap venues, as costs continue to go up, making it increasingly challenging for them to survive. I hope they find ways to thrive.  I’love to to see a shift towards a more authentic and less performative environment. A scene where people feel comfortable being honest and vulnerable with each other, a genuine sense of community where we can support and care for each other. Also hoping that I don’t have to wait 20 years to see this all happening…

By: Filip Sandström Beijer Montreal based TDJ is coming to Europe and making a stop in Berlin, March 22. We had a chat about her new track, techno versus trance and touring. How's 2024 treating you? It's been great so far. I’m in Tokyo right now, enjoying life before the first show of my Asia tour on Friday! You've got a new track, "Come Back Home," coming out on February 22nd. Want to tell us about it? It’s my first release of 2024  It’s about a relationship that never really found closure and the feeling of chasing after something forever. It will definitely feel good to release this one.   Will we see more amazing video creations, as with SPF INFINI, in the future?  Definitely. Something big (long) is on the way.. You started your musical journey in the mid-2010s under the name RYAN Playground. Want to take us aboard that journey until where you are today with TDJ? How would you say you have been evolving? My previous project felt more like an exploration. After releasing my first album, I felt the need to start something new. I was obsessed with trance music and needed a new output of creation in which I could re-imagine the way I could present my music and myself. As we understand, Tiësto is a big inspiration and someone who has influenced you musically since you were a child. Who else were you listening to as a child, and what influences from other artists have you been incorporating into your productions today? Haha, I did discover Tiësto when I was a kid with Adagio For Strings. Loved it instantly. ️ But I did not really stick to listening to trance at that time. I was more into pop-punk music. Obsessed with Blink 182, Gob, Sum 41, MXPX, and stuff like that. You're coming to Berlin soon, the city of techno, perhaps not as big of a trance town. What is your relationship with Berlin? I love playing here, always have a good time with the trance and not-trance heads, haha. Hardcore techno fans can sometimes view trance as a genre as "sensitive." Why do you think that is? I think it’s super subjective. Any genre can bring you to tears really. But for sure trance music can maybe take you more easily on a very special emotional and uplifting journey. In 2024, you will have your busiest year yet, touring the world. I hope you enjoy traveling? Yes, very busy year ahead. I love traveling, especially for touring. I love having a clear purpose when traveling, not only for vacation you know. Really excited for what’s to come. Also working on an album.

Article presented by LM PR Agency. DJ Flatbeat, AKA Sam Jaggi, speaks to Playful about founding his own label, self-expression, the club scene in Switzerland as well as his new project with Calvin Parker. And he's hoping to open his long lived dream to open his own club in 2024. DJ FLATBEAT, how’s 2023 been treating you? Since my children are now at an independent age, I have regained my freedom to revitalize my DJ career. Throughout this year, I have achieved a lot and played at many new locations. Looking back, performing at Ritter Butzke was undoubtedly one of my most memorable experiences in 2023. Additionally, I had the privilege of founding a new label with my friends (Audio & People) and enjoyed collaborations with Beepd Music & LM PR Agency, as well as meeting many new wonderful people. Flatbeat is firmly rooted in the Tech-house and Techno scene, with Techno gaining more prominence over time. Techno is where I began my career in 1998, and it brings me great joy to see this genre regaining attractiveness. Playing Techno again at a party this summer after over 20 years felt like coming home and reignited my passion. However, I also have a playful and very emotional side that I needed an outlet for. That's why Calvin Parker and I founded the DiVa Collective a month ago. Together, we play Melodic House & Techno, representing opposites. Our sound is like a warm embrace for the soul, an expression of love and dedication to music. We aim for our collaborative work to touch and enchant many hearts. As a producer, how would you describe your music? As I have only released one track recently, I can't say much about it yet. Currently, I'm more in the background, supporting my colleagues with their productions. Drawing on years of experience in various music genres that I've played and my musical education from my youth, I'm using these skills to contribute. Since our label specializes in Melodic House & Techno, I'm not sure if I'll release a production under Flatbeat, but if I do, it will likely be Techhouse. What does your creative process look like? I've never really thought about what my creative process looks like. Everything happens through feeling for me. Does it feel right? What does it evoke in me? What does the listener/audience feel? I refine this until it feels harmonious for me There are no rules for me here, as only the feeling matters, and I believe this is palpable in my sets. You’re often adding elements of drag, can you tell us more about your relation to drag? Regarding my feminine personality, I've carried that with me since childhood. I feel more comfortable and attractive in this role. I've received feedback that when I express my femininity, there's a glow about me that isn't present otherwise. While I'm attracted to women, I don't see myself as a woman but as a very feminine man. Sharing this publicly as I am and disregarding societal norms took a lot of courage and led me through many highs and lows. I believe everyone should be who they are and feel good. Those who can accept that are the most wonderful people. However, it's crucial to be able to separate oneself from societal norms and what others think. Everyone should be loved for who they are, and that's what I fight for. There's a beautiful saying that encapsulates this quite well: 'Happiness begins where you decide not to care.' So, that's me. It's not just a stage presence but how I feel. The beauty is that I can be myself at events and don't have to pretend. Switzerland is not the most famous place for it’s electronic music scene, where is the best place to go out, do you have any hidden gems? Yes, that's really difficult. That's also the reason why it's very difficult for DJs from Switzerland to become known. Switzerland has many beautiful events in the Alps that are truly unparalleled. Examples include Arosa Electronica, Sunice Festival, and many more. In terms of clubs, the usual suspects are D-Club Lausanne, Nordstern Basel, Viertel Basel, and Hive Zürich. What are your plans for 2024? For 2024, I want to be on stage more and release my own tracks. I also hope to fulfil my long-awaited dream of owning my own club. So, if anyone is interested in booking, I'm currently planning my year.

The Milanese Producer speaks to Playful about his new EP "EUPHORIA" and its influences. But also his background as a pianist and student at the music academy, and what that brings to his sound today. You've got a new EP 'Euphoria' that was released last week. Can you tell us about it and what has been influencing you? My latest EP EUPHORIA represents two worlds and two sounds that coexist in the Techno music genre, lighter sounds like in Midnight Ride and Green Hornet which contrast with darker sounds like those present in We Move, Techno Appeal and Inner Voices. I decided to represent this duality of sound in my latest EP because I strongly think that it can satisfy different types of ravers, without focusing the entire project on a single exact form of hard Techno. There are many elements that influenced me in the realization of this project such as science fiction films such as Blade Runner 20249 or Oblivion, whose soundtracks in particular I am a great admirer of, and also books such as Jorge Orwell's 1984 which inspired me led to write the screenplay for my short film made in collaboration with the great 3D Designer Leonardo Silva (itwasleo) for the single from my EP, Midnight Ride. You have a background as a pianist and a composition student. Is this something that shines through in your work today? Having been a student at the music academy was fundamental and is an element that influenced my personality as an artist and consequently also the music I create. Over time I specialized in other areas of contemporary electronic music production, such as sound design and the use of very complex and modular instruments of all kinds, always taking advantage of the notions learned previously which allowed me to have a 360 degree vision of the various applications that the world of music can have. As we've seen, you're also putting a lot of work into your videos. Can you talk more about what visuality means to you? Visualization is an aspect of my identity as an artist which is certainly very important. I have decided to collaborate with many of the greatest artists who are currently there as Graphic Designer for the creation of 3D videos relating to the tracks I have produced so far. This because I think that In the near future, music and image will increasingly be inextricably linked to each other; there will be a radical change in terms of entertainment in the world of clubs which is already present on a large scale by the major exponents of electronic music. My ultimate goal is to also provide, during my future sets, the possibility of experiencing some visuals that can make the raver even more personally immersive inside the club. What are two or three ingredients you always add to your productions? In my productions my percussions can never be missing which I create inside my modular Euro Rack and Moog. these two machines are very complex and allow the sound timbre to be modeled so that the final product can be as original and unique as possible, this The latter were used in the darkest of my latest EP Euphoria. Furthermore, the Roland Jupiter X, Main Lead of my latest single Midnight Ride, can never be missing from my productions. You started DJing already as a kid. What has your journey taught you about the dance floor and what ravers want? I started at a very young age, I experienced the clubbing life thanks to my father who accompanied me to the clubs. The first impact was definitely very strong but over time I managed to understand the dynamics and life of clubbing and in the figure of the raver is particular. I believe that every raver, including myself, is in the club to be able to experience their most hidden personality from the eyes of society, a welcoming place that can be called home for many, a place where they can make friends, fall in love and obviously have fun. What are your upcoming plans for 2024? My plans for 2024 are the introduction of my new artistic identity which will mainly be aimed at the Hard Techno genre. I already have numerous EPs in production and finalized that will be released throughout 2024, each EP will have a single inside which will be accompanied by a 3D video created in collaboration with other artists related to the world of the metaverse with whom I will try to bring ahead my dystopian-apocalyptic scenario which will act as a visualizer for my Hard Techno tracks and obviously for the various club dates that I will start doing very soon. Furthermore, numerous Essential Mixes will be released on my YouTube channel which I will produce in various locations around the world, and the starting point where I will reveal my new artistic and musical identity will be the capital of techno in the world, namely the wonderful Berlin. #staytuned #maikedepas2024 Follow Mike Depas on various platforms.

Article presented by LM PR Agency. We spoke with Hamburg based DJ and Producer Mosha, about how to create a track from scratch to finnish as well as the differences between Berlin and his hometown. Mosha, how would you describe the music that you produce? I would describe my music as techno. They are songs that are DJ-friendly, and the themes or the sounds of the songs are also very distinct. But the basic theme of the songs is techno. I have a lot of things going on right now, and my next productions will be released on the Australian independent label "S7 Records." The songs are produced at 130 bpm, and the sound is very straightforward, characterized by long monotonous parts that invite you to dance. I intentionally made sure that the sound design in these productions aligns with the loop techno area. As a producer, it was important for me to create a structure in which the song is clear. For explanation, I try to divide the song into 4 phases: At the beginning, the song starts with a straight part > this is suitable for DJs to be able to mix it better! The DJ doesn't necessarily have to use a loop to mix the song. Then there is a break to signal that the song will now build up. In this part, various sounds are added (drums + hi-hats + and the theme builds up! until the next break. After the break, the song is reduced (drums + hi-hats are reduced) but the theme remains! This is an arc of suspense to enrich the song again with drums and hi-hats! until the song reaches its climax! Then the song is rebuilt, and the individual sounds are reduced, ending with a part where the DJ can mix in the next song! This is roughly what one of the productions will look like. How was 2023? The year has been very good; I have developed a lot as a producer. I have started working more with vinyl and am in contact with a recording studio in Hamburg! Also, as I mentioned, I work with an Australian music label. As a DJ, the year was also exciting. I was able to play at a few events in Hamburg, and I also played at different radio shows, including on “Ibiza Stardust Radio.” I was also able to gain new contacts in the music industry, such as organizers and club owners. And the best for me,... I now have a permanent PR agency “LM PR Agency.” The collaboration is really great and will continue in 2024! Which I'm very proud of. But I would say that for a musician in the techno scene, it's all normal activities. I realized that I really like this and want to continue working in the music industry. I would say that my mindset is continuing to develop. It's very varied and just fun. I think that's also very important when you work with music. You must have fun with it! You shouldn't do this for money; you just have to like it, and the passion has to come naturally! As a producer, what are three ingredients you always involve in your productions? Firstly, I think of the structure of some tracks. I usually work with 3 breaks. When it comes to relaxed or house tracks, I sometimes work with several breaks. Second, it's important to me that the song starts straight and lasts about 1-2 minutes. This is primarily intended to be DJ-friendly, meaning that the DJ has time to mix the track. Of course, from a technical point of view, today you can loop any track and make the mix the way you want. But everyone is different. When I play a track as a DJ, I trust the producer and let the track play the way the producer planned it. I think that's the only way to convey the mood of the song to the audience. By technically intervening in a track, you can change the mood by looping or setting cue points. But every DJ has to decide for themselves. I think this also applies to the end of a song. The last point, I would like to talk about the idea of a track. This is perhaps something personal. The first two points are technical implementations that you can hear in the songs. But what you don't hear directly is the idea behind the song! When you listen to electronic music or listen a little more closely to techno, you sometimes hear common elements or things that sound the same. This can also be certain stylistic things. This happens when certain things are hyped in the music scene, or a specific electronic sound is very popular. It's important for me at this point to distance myself from such things because my motivation is to create something new. The sound of my tracks is different from other producers. I think it's a pity when a lot of sounds in electronic music have the same style or the same elements. For a diverse electronic music landscape, it is important that songs sound different. I would say that's my 3 ingredients for producing; I do things that others do not do. You are Hamburg-based, how would you describe the difference between Hamburg's and Berlin's techno scenes? Techno music is more firmly anchored in Berlin and has a long tradition; you can't compare that, especially when you compare the history of the cities. People in Berlin have grown up with music or with Techno for generations and are connected to it. Hamburg had another history. You have a few clubs here, and the types of music are perceived differently. These are just things you have to live with. Also, very sad things are currently happening in Hamburg. This is very, very current information from the club scene in Hamburg. Three very good techno clubs are closing this year. As a DJ, this, of course, makes me very sad. This is because Hamburg does not have its own club culture or community. I notice that myself as a DJ. The club scene in Hamburg is very insecure and doesn't have its own concept! Although the city is very international and electronic music should have found its way here, unfortunately, that is not the case. At the moment, I'm in contact with organizers in Hamburg, and of course, I'm trying to bring something new to Hamburg's club culture. This is also a step-by-step process. Where will we find you in 2024, and what do you look forward to? Definitely in the studio. I'm enjoying this time because this is also where the next projects for 2024 are being created... That's fun. Here are a couple of projects for next year: – Continuation of the collaboration with my PR agency “LM PR Agency” from Portugal. – Radio broadcasts – Producing – Cooperations with organizers. – DJ bookings – Photo and video editing

Playful had a chat with Sam and Pascal AKA CYRK, who were about to play their longest set together, closing Panorama Bar Monday morning. What’s up, how’s 2023 been treating you?  We are good. 2023 hasn’t been too bad for us, we spent countless hours in our brand new studio preparing releases for 2024, we had full releases on Polari, Folklor Nation and Cultivated Electronics, we played really cool deejay and live shows including P-Bar and the Arte Concert-Tegel stream, we also joined a new agency, we can not complain. Who takes what role, when working together as a duo?  We are a duo on stage but first of all a couple since more than 10 years, so we know each other really well. Sam from Belgium, Pascal from Germany, living in Berlin for more than a decade. In the studio there is no particular role except Pascal does all mixes and Sam more of the arrangements, when it comes to ideas, it is really 50/50. We try to keep a balance but without any pressure. If you could mention only three cities or places in the world, where you’ve collected most of your inspiration, which places would that be?  First of all Berlin has a huge influence on us as we have a lot of awesome friends here, we can see a lot of art, listen to a lot of great music… Detroit for its Influence on music as we are big fans of Detroit techno, house  and electro, We´ve been there a lot of times and have also a lot of friends over there. We would say last Bangkok which is one of our favorite cities in the world, we try to go once a year and we also take some time off in Thailand (Koh Lanta), so it Is a very good source for resourcing and finding new ideas. How is the dynamic and communications between you during your sets? When we play live, we don’t really need to communicate too much: Pascal does all synths, Sam all drums and as we play our own music, we kind of have those automatic habits on how to arrange on the fly, how to make changes, breaks… when we deejay it is a different story and usually Pascal is the main pilot as deejay was his first love and he very often has a better view of what to do (and someone needs to take the lead) What’s your relationship with Panorama Bar? We love that place, it is pretty much the only club we visit as guests, we ´ve been regulars since it opened (when there was no Berghain yet) and a lot of the music we produce is influenced by what happens up there. We very often produce music influenced by a set we heard. We sometimes joke when we finish a track that it is perfect for PBar on a Sunday afternoon, or at 6 in the morning. As far as playing, it is  our first time deejaying as CYRK (we played live before) and we also both played a few solo sets  (Pascal closed PBar in the past) How do you prepare a closing set together? We started by each collecting a lot of music, put everything in a big pot, then decide how we arrange them into playlists. We then practiced to see if Any track was really not working, in that case we deleted it. We then went back and tried the playlists a bit more while re-arranging them.With of course a lot of practice In between. What’s the longest set you’ve ever played together?  We never played more than 5-6 hours together, but we live together and make music together, so maybe it counts lol. Lately we had a long set at Folklor in Lausanne and it was a lot of fun. This might be our longest set together. What can we look forward to Sunday evening/Monday morning?  We will serve a mix of house, new and old, electro, Italo (dark, ebm, happy), some Detroit, some Chicago, some vocals (not too much)… we will try to keep it interesting and entertaining.

By: Filip Sandström Beijer Photos by: Manuel Schuller Autumn and the chill are here, and it can be challenging to reminisce about warm summer evenings, a three-hour drive outside Berlin, near the Polish border. But when we look at the pictures from the very first edition of the Good2U festival, it's easy. In the midst of a quiet, leafy forest lies an old GDR warehouse that, for a few days in August, was transformed into a rave playground for hundreds of people. The location itself is special. Here, the organizers have successfully blended industrial environments we are accustomed to clubbing in in Berlin with a beautiful, green camping area and fantastic urban outdoor decor. As a visitor to the festival, it's almost like arriving at a summer camp as a kid, in a good way. It's evident that the team behind the festival has worked with passion, creating a sense of unity. Since the festival is small, this is something that permeates the entire atmosphere on the site. Festival organizers, artists, and attendees merge into one entity, creating a great atmosphere. The organizers' dedication to electronic music also shines through. The lineup sets them apart from more commercial festival competitors. Instead of competing for the biggest names on stage, they choose to focus on acts that resonate with the dedicated fans. Sure, established names like KiNK , Ogazón , The Lady Machine , and Fadi Mohem surely attract some visitors, but what truly defines the festival is the carefully curated program. The leafy forests are the perfect place to explore new DJs and high-quality music. We are impressed by the sound system, the light show, and the details that come to life as darkness falls and the doors to the old GDR warehouse open in the evenings. During the day, tired festivalgoers gather at the festival's only outdoor stage, which starts with lower BPM and gradually increases as the day progresses. We are also impressed by the relaxation area, located right between the camping area and the large concrete buildings (approximately 20 meters apart). Here, the interior design team has managed to create a cozy and welcoming environment that almost resembles a home party in the evenings and a decadent yet cozy after-party in the mornings. To sum it up: If you enjoy discovering new music in a wonderfully trippy forest setting and becoming part of a larger community, the Good2U family, then this is the festival for you. Interested in Good2U 2024? Then you should keep your eyes open on their Instagram .