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Photo by: Abbie Fowler YANT interview for Playful Magazine After a successful debut at Berghain, Manchester based YANT spoke with Playful about how it all started and shared some advice for newcomers out there. Can you tell us about your background and how you got into DJing and producing music? "To start with, I grew up in a small town in Lancashire in the North West of England. It’s a place where there isn’t much going on, in the middle of the countryside, but it’s a nice place to walk and get outside. I think growing up I could find myself bored but I think that bred some creativity inside of me, and a bit more imagination. Over time it became more unlikely to see anybody outside, everyone was in front of an Xbox or a computer, including myself I was always into technology messing up my gran’s computer and having to fix it, and then I dabbled with the creative aspects like graphics design, 3d design, video editing, but I found my path with producing music. My passion for music was always there, despite the urge I never owned a classical instrument, my involvement though really ignited when my older brother brought back a mix cd after his first week at high school. When he played it to me, my automatic response was “that’s shit” because we’d fight a lot and I didn’t want him to have the satisfaction of showing me something new that changed me, although over time I gave in. I was hooked, I was the DJ he was the MC - lucky to get some Megamix CD decks as a present one year around the age 12. I had no idea what I was doing at that time, I just saw videos of people mixing and scratching and knew I wanted to be a part of it. Shortly after, I started producing on FL studio (mostly dnb and UK bass music) and was able to hunt down a few older people doing a similar thing in the same town. They were all important people in my path so far, a guy called Duncan was the one to introduce me to Techno and one of the first people I played for at a local event, he also shaped my ethics toward the music scene, along with the Apoco sessions crew. It was very much a DIY thing, Apoco bought their own turbo soundsystem and we’d carry it up 4 flights of stairs to the room, often in the back room of a pub filled with smoke and sweaty friends and all sorts of bass music. The place had a hard time getting us to leave, my first Techno set they unplugged the sound system since we wouldn’t turn it off, but I think in the end it was turned on and off about three times until we left. Looking back, we should’ve been more respectful seeing how easily club licenses are revoked here, but it was fun." "Since that era, moving to Manchester was the next stage in my life and it’s now my home, I’ve been here over 7 years." What are some of your biggest musical influences and how do they inspire your work? "Definitely a strong influence from Drum & Bass, the likes of Goldie and Ed rush & Optical, that kind of gritty raw phat analogue sound. Goldie for the deep feeling in his music, especially with Timeless, that dark melancholic but yet soulful part. I have many influences since I listen to a lot of styles of music, I feel like I’ve had periods with everything and now I know what it is and I can listen when I want it, I’m not a closed book in this way and I wish some people would be a little bit more open to trying things. As a side note, maybe the bounce era I went through added a hint of playfulness to my music and reminds me not always to take things too seriously haha." Manchester and Berlin, two cities with a massive impact on the music scene. What would you say differs and connects them? "I’m definitely a little bit biased, but I think there is a very warm feeling here in Manchester (the people, definitely not the weather). When you go to an event like Meat Free everyone is smiling, into the music and out to create a good vibe for each other, we don’t take it for granted, everyone talks to each other, you see a lot of regulars and get to know each other and it’s more like a party feel to it. It all feels like a big family and intimate." "Berlin definitely has a larger Techno scene in terms of the scale, the venues are much bigger, soundsystems for the most part are more thought about, and of course you win on opening hours. I love both!" "The main connection is that we definitely both know how to party haha" What role has Berlin played in your career? " I’ve visited countless times now, and it opened up my perspective to a city which still protects its scene. It showed me how intense a dancefloor experience can actually be. I’ve played in Berlin multiple times now and released with artists and labels based here, it’s the hub." Can you tell us about your process for selecting tracks and creating your sets? " I’m constantly searching for music both old and new. I search online and in record stores. Then for organisation I usually start by throwing new tracks into a folder, having a mix while dipping in and out of older folders. This gives me an idea of what tracks work together over the course of a full set, I find this important for the flow and vibe of the bigger picture. What might be an incredible track, just might not fit in the direction you’re aiming to go in this period, so I’ll remove those from the folder. Then I create folders for vibes or parts of a set e.g. intro, deep, switch up, end. And during a set, I always have histories and older folders accessible so that I can go in other directions and adapt." Can you tell us about any upcoming projects or releases that you’re excited about? "I can’t say the specifics, there are a couple of full-eps in the pipeline which I’m really excited about. So it’s just a waiting game on pressing for those now. I’m working on some other bits too, hopefully my output should increase. I did a few single track VA releases around the lockdown period, while it was nice to connect with people, I only want to focus on releasing complete works now." Finally, what advice would you give to aspiring DJs and producers who are just starting out in the industry? "Appreciate the journey, everyone is different so don’t compare yours to others and if you find yourself doing that just realise, you’re on your own path and that’s what makes you who you are both as a person and an artist. This goes hand in hand but try to go your own way (against the grain), it’s not easy and I’m still working on it myself, I want to keep pushing further in that direction. At the end of the day, there’s only one Jeff Mills, one Aphex Twin, one Blawan, and each of them have their own individual style, this is the reason you go to see them."

By: Isabelle Brättemark Photos by: Shannon Heenan ( Instagram )  Bleak, SUBVERTED & BRENN – The future for Queer events in Berlin: "We have to create new spaces" Organizing club nights in Berlin 2023 is more challenging than ever. Rental costs and artists fees are skyrocketing. The accelerating gentrification of the city and competitiveness between in-different parties is especially difficult for smaller Queer collectives who are putting themselves at huge financial risks when putting on club nights for their communities. Queer collectives Bleak, SUBVERTED & BRENN. sit down to discuss how nightlife in the city has evolved over the past few years, the pressing need for more collaboration and community focus, and what the future may hold for organizers of Queer events in Berlin. “Due to the commercialisation of the club scene and the rising prices in general, also due to the inflation, people with fewer resources (which structurally include BIPoC, Queers, trans, non-binary, inter and disabled people and the intersections between them) simply cannot afford to go out anymore”, Hybral from SUBVERTED explains, and continues; “We are also facing the challenge of finding the right club that does not only have open dates, but also isn’t too big or too small and that is in addition willing to invest in new (Queer) event series to give them a space to help them grow.” BRENN. co-founder Flemish Fetish agrees “Everything has gotten so expensive, especially rental prices of clubs and we barely get something in return... Also artists are forced to ask for more money, due to the economic consequences of COVID and the war. This has forced us to raise entry prices and then even still we barely get any profit. Sometimes we organize a party and DJ's earn more than we do for 2 months of work.” “There are other challenges as well” Whattis, co-founder of Bleak, adds “these are more cultural. We're living in this shallow and hollowed out era where value-driven work and substantial attempts at transforming the scene isn't necessarily appreciated, but social media activism is somehow "good enough" for everyone. There's a lot of performative allyship going on, which creates a sort of mass-delusion that real change is happening, while the reality looks the same or worse for those in the most vulnerable positions.” Flemish Fetish One way promoters are fighting this is through increasing collaborations through events. While sonically collectives don’t always align, Queer promoters care more about aligning values between partners they plan collaborations with, and actually see bridging different musical styles as a way to bridge Queer people who normally would not meet in the city. “SUBVERTED has done a few collaboration events so far, primarily with the aim to reach a broader audience and to bring different (Queer) communities together who would usually not meet in club spaces because they simply have a different taste in music. The collaborations were not only very beneficial in terms of community building and exchange but also in terms of creating new exciting concepts as well as mutual learning regarding event production.” says Hybral. “Of course working with another collective isn't always easy. First of all from a curation point of view but also personality wise. We all have our ways of doing things and that can cause challenges sometimes, but so far our experiences have been great and super rewarding to see the final result.” Flemish Fetish adds. Whattis jumps in “Despite the challenges that comes with working together with other people, organizing bigger club nights across seemingly different sub-communities is a good reminder of that we’re working towards the same thing; liberation and recognition for all Queer people on the dance floor and in society.” The competition within Berlin’s nightlife overall and in-between Queer collectives is another factor that makes event organization increasingly more complex. “Even big Queer events are challenging for the Queer scene because they rather became a place where cis-heterosexual couples can „experiment“ and „explore their sexuality“ than a place where Queers really feel comfortable.” says Hybral, and continues; “Next to all money related challenges as well as gentrification, huge commercial events that are happening in the scene is a big factor why underground spaces are so precarious and threatened and is also the reason why there is so much competition in the city: every promoter/club wants to have the most famous line-up, and maybe even needs one to keep everything running and attracting enough people.” Flemish Fetish has tried to find solutions to make that part easier. Besides just event collaborations, they have tried to make communication easier between Queer promoters so they can plan accordingly. “The fact is, there are A LOT of parties, collectives, clubs and especially the Queer promoters are all "fighting" over the same audience. I started an initiative last year with 30+ promoters to have a shared event calendar. Here we put in our dates and then when planning our next event we can see who is organizing what & when. This has helped me a lot with choosing when to do the next BRENN. and I heard it has helped others as well.” Whattis Whattis adds “There's this mentality that you might lose if you don't guard what you have, but that's a huge lie we tell ourselves because that's what capitalism has taught us. BRENN.’s shared calendar for event organizers is a great way to break these imaginary walls we put up in between us. Something we do at Bleak is to actively share other Queer collective’s events on our channels. It's a tiny act of mutual support that costs us nothing but might help the organizer, if only a little.” Collaborations can also help spread the financial risks of throwing events, while connecting Queer communities and introducing people to new music, collectives, and people. By reaching a wider audience, as well as sharing costs, promotion, and bookings, promoters have found that both the work and finances are more plausible. While the pay-out may not be as great for any single collective, it makes potential losses easier to handle. “People don’t seem to be aware of how much a club night costs. One event at a club in Berlin with two floors and a break-even around 500-600 guests costs around 10.000 € to produce. This includes paying: club rent, club workers, awareness teams, artist fees, booking fees, transportation and accommodation costs, design, digital and analogue promotion as well as catering (drinks and food for team and artists). What’s not covered in that is the work of the collective/promoter, something Flemish Fetish mentioned already.” Hybral explains. Ultimately, making Queer events both financially sustainable and accessible will require a lot more communication between promoters, clubs, DJs, audiences, and funders. Making organizing events more affordable is important, but systemic changes within Berlin’s policies to curb gentrification and combat the rising costs of the city are necessary as well. “I think the only way to make it more affordable is funding or cheaper venues. But both aren't easy to find or access.” says Flemish Fetish. Whattis agrees “Trying to get funding to organize events currently seems like the best option, but that in itself requires the luxury of time as well as the ability to write an application. Making funding more accessible is definitely something that needs to be considered.” Hybral notes that “To address the existing threats to these spaces, communication with politicians and political discussion on a broad level is crucial. Every actor and participant in Berlin’s club scene has to participate and to speak up.” Hybral While the Queer scene in Berlin is increasingly hard to navigate from a financial perspective, it is as important as ever. Members of all three collectives and the communities they are part of serve as testimonials as to how crucial it is to protect not just LGBTQIA+ spaces, but Queer specific spaces which are more experimental in theory. “I feel that the Queers honestly rule Berlin and hope we as a community feel empowered to do more things, fight for more safer (institutional) spaces and can walk the streets safer.” says Flemish Fetish and continues; “Berlin HAS had and STILL HAS a big influence on my development as a Queer person. I feel that it gave me space to develop my true self a lot! Becoming more aware of topics, issues, etc. But moreover also my identity. Just recently I discovered that I actually don't identify with He/him pronouns anymore and prefer to use They/Them. Something I probably wouldn't have felt comfortable communicating back home in Belgium.” “Since moving to Berlin 7 years ago, I finally felt like I belonged and could explore myself as a Queer identifying person. To be surrounded by people who had come further in that exploration definitely fast tracked my self-acceptance and opened up possibilities that I hadn't even thought of. It's liberating as f*ck, and it’s something we must preserve.” says Whattis. Bleak, BRENN., and SUBVERTED all see major changes that need to come in the nightlife space in Berlin. Ensuring equitability both at events and outside of them is increasingly important, while also focusing on Berlin based communities. Part of this requires reverting the pervasive need to grow with smaller events and venues that can adapt to a growlingly anti-underground ethos in the city. So what does the future hold for Queer nightlife in Berlin? Flemish Fetish says “For BRENN. our focus will actually be to decrease the amount of club nights and focus more on cultural events. This depends on external funding. Also I think the future of nightlife in Berlin lies more in bringing our nightlife culture to OUTSIDE Berlin, with the hopes of attracting more out-of-towners.” “The future needs to bring more equitability and justice to the table, where those in power hold themselves accountable and focus on transformational change and not just surface level “activism" that silences the oppressed. Historically, change doesn't come from those who benefit from their privileges, however, but from those who do not enjoy said privileges.” says Whattis and adds; “I see that Queer nightlife in Berlin might be forced to become more anarchical and DIY to sustain itself for now. I already see a revival of more underground and low key parties, and I think that's the path more and more organizers, including Bleak, will be following.” “I feel like Berlin’s club scene needs a complete reset and restart: We have to create new spaces outside the commercialized big clubs. We need more smaller spaces rather than a few big spaces. We have to go back to a culture of unannounced lineups to make it less about names, fame and business culture, and more about community.” says Hybral, and continues; “In terms of finances, there not only has to be more transparency but also more redistribution practices inside clubs between different events and promoters: big, successful parties compensate for the smaller, community focused events. Solidarity and allyship are widely used terms in club culture, maybe it’s time to start practicing them again.” Hybral is founder of SUBVERTED , a Queer and trans-led label and event series focusing on dark industrial techno. Flemish Fetish is co-founder of BRENN. , a Queer house oriented event series in Berlin. Whattis is co-founder of Bleak , a Queer multi-genre collective based in Berlin and Brooklyn. Join Bleak, SUBVERTED, and BRENN. for their collaborative event “ Queer Chaos Theory ” at OXI on May 13th, 2023:

DJ DASCO. Photo: Yuval Weitzen DASCO celebrates her femininity with the acid-infused new EP and acts as a reminder for people the world over to “stay confident, focused and remember that everything is possible and to never give up” Please tell us about your forthcoming EP ‘Powerful Woman’ - what’s the energy behind it? Powerful Woman, which is out on Shall Not Fade Records , is about female empowerment. It acts as a reminder to myself, as well as to others, that we are much more stronger than we think. When we deal with challenging situations, it’s important that we stay confident and calm. We shouldn’t let things affect us too much, so we can keep moving forward. In my track Powerful Woman , you can hear me saying the words “powerful”, “strong”. It’s like a mantra, I repeat those words several times until it enters my consciousness and makes me feel more confident and in control. As a female music producer in a male-dominated industry, I’ve seen and felt the challenges and discrimination that women often contend with. In this track, I talk about female power to other women from all around the world. It’s important to me to inspire other women through my music and show them that they shouldn’t be afraid to keep doing their thing and follow their dreams despite gender/ sexual discrimination. I’d like to encourage others to never be afraid to show or express themselves to the world in their own unique and authentic way. I’d like those women to be proud of who they are, to be proud of their femininity, their strength and independence. DJ DASCO interview for Playful Magazine What’s the core energy in releases from you label Bisexuality Exists? Happy, uplifting music for the dancefloor. Music which will move you and make you want to dance! Even the name is a statement, how did you decide on it, and why is it also an important statement? As a bisexual, it is important to me to normalize bisexuality/ bisexual visibility in the public space and to campaign against biphobia and bi-erasure. It is important to me to represent the bisexual community with pride and with the respect it deserves. Don’t tell me that it is only a phase, or that I need to choose a side. Bisexuality does exist, it is a real thing. I would like to encourage people through my music to open their minds and hearts and make them realize that life is not only black or white, but there are so many wonderful colours and shades in between! Also, I’d like to inspire those who are in the closet or in some distress due to their sexual orientation/ gender identity and let them know that they can make their dreams come true if they will stay strong, keep believing in themselves and don‘t give up. The Powerful Woman EP also acts as a reminder of that anything is possible and to never give up, what has given you energy to keep on going after your dreams and goals? The love and support of the people who listen and dance to my music means the world to me. It proves to me that I’m doing something right and makes me keep on going in that direction. Another thing that helps me to keep on going, is to be very aware of my body and how I treat it. I see a very strong connection between what I put inside my body and how I feel, not only physically but also mentally. Taking good care of my body by eating healthy plant based food, working out and so on, helps me become more calm, confident and strong. It helps bringing me closer to my goals. In general, I’m a very ambitious person. I always push myself to be better both in my personal and professional life. I’ve a strong drive to always move forward, always be on the move, between gigs, between countries, all this inspires me. I’m inspired by changes, new places and new people and I always search for new sounds and new adventures. To always to see the glass as half full. Even in difficult times, I search for the source of light from which I can keep moving forward. I strongly believe in karma - what you give is what you get in return... What are some situations you’ve been through where you feel you haven’t been taken seriously? Recently, Beatport posted a clip of me on Facebook, playing at Polifonic Festival. I was full of energy- playing, dancing and smiling. I really felt the music and was totally into it. For me, dancing is a great workout and a dopamine release . I see it this way - if I’m happy, the crowd is happy too. Here were some of the comments on the Facebook clip they posted. …Great, another girl dj. Just what we need. …I don't know y a mass majority of female DJs spend more time dancing than DJing... ….another sync button clown. Unfortunately, misogyny exists. We live in a sexist society full of gender stereotypes that says that a woman should be hidden. Not allowed to smile, dance, celebrate her femininity. Now, I don't take any of those comments seriously and to be honest, I found some of the comments quite entertaining and had a very good laugh. We have a queer slang in Hebrew: “kohev hakus” (which is also my secret DJ alias... oh well, now I guess not that secret anymore...) The translation from Hebrew of “kohev hakus” is “my vagina hurts” which basically means - I don’t give a damn. After a festival in 2021, straight after my set, the organiser touched me and shamelessly asked to join him to his hotel room. I froze, then politely refused his offer. In retrospect, I should have called him out for his rude and inappropriate behaviour. If you’re reading this interview now and have been sexually harassed, this is not your fault. Don't feel guilty or ashamed and don't be afraid to talk about it or report it to the right people. DJ DASCO interview for Playful Magazine How do you feel we can create a change? We can try to be more sensitive with one another, try to be polite and kind to each other as much as possible. To think not only about ourselves, but about other people around us. To treat people with more respect. Respect their body and their private space. I mightn’t be able to change world, but I won’t cooperate with the dictates of society. I’ll fight to make my voice heard, continue to do things my way and spread positive messages. Maybe by doing so, I‘ll inspire others to behave in a similar way. What’s your hopes and dreams for the future? To stay creative and passionate about music and to stay inspired. I’d love to play in front of a crowd of 20,000+ people and to play and sing live. I hope to keep uplifting others through my music, spread my positive energies and send much light, love, peace, unity and equality to the world. Pre Order "Powerful Woman" here.

By: Filip Sandström Beijer Photos: Daniel Iglesias Hayden Payne, aka Phase Fatale shot by Daniel Iglesias Hayden Payne is the New Yorker who fell in love with Berlin and decided to stay. In Playful he talks about his background as a post punk band member, his favorite places to tour and the fact that when he’s not busy keeping you dancing, he enjoys a good read, Naruto, and the museum. It has been eleven years since Hayden Payne visited Berlin for the first time. Then as a music exchange student from New York. Today he's one of the record label Ostgut 's most promising acts and he's known for his Berghain gigs. But the journey did not begin with electronic music or techno. “When I came to Berlin for the first time, I played post-punk, new wave, and minimal synth in different bands. Berlin has a very large stage for that type of music, and I had already gotten in touch with people in the community via the internet. But I always knew I wanted to go to Europe,” Hayden tells us. In 2011 he came to Berlin with his best friend who he played with in the band Dream Affair. The friends started DJing at clubs as soon as they landed and were booked on a tour around Europe. “I had a friend who worked as a booker, and he took us on tour. It made us more involved in the music scene here. I could see that, unlike in the states, there was big support for the kind of music that I liked. There was no way to survive as a musician just starting out, solely, in New York. But even though his journey began as a band member with influences from EBM and NDW legends as DAF and the 80’s music scene, it's the techno innovator and solo artist Phase Fatale we know for his unique soundscape and dystopian set. Like many others, he got mesmerized by the techno temple. “When I was touring, my booker at the time took me to Berghain for the first time. In New York there are techno parties, but not in that way. It’s more industrial and EBM stuff over there. This atmosphere that I experienced was almost the same as in New York at the Wierd Records parties, where I played and worked but times a thousand.” Hayden says and continues; “Then I thought that this feels like something cutting edge compared to playing in goth post punk bands, which I also love, but is very romantic and nostalgic." He has always been working solo on a personal level but after the revelation in Berghain, he decided to bring the previous influences to create something new. I wanted to put more meaning into it, with the artwork, the concept, the song titles, and delivery. “I was trying to do something new, and it turned out to be the right time and right place for this.” Anyone who listens to Phase Fatale can surely agree that it's not the happy, pop soundscape that dominates. Rather the opposite. “Music that is very poppy doesn’t appeal to me, because of its fake happiness. So, I could listen to anything from black metal to shoegaze. Shoegaze, for me, feels like a good combination of what I’m trying to do with techno. They’re using layers of extreme noise and harshness that can go back from industrial music and more experimental stuff, but within a framework that is pop essentially.” Hayden explains. But even though the style of music has changed for him, he constantly keeps one foot in each world, both as an inspiration and in his spare time. “I still love going to concerts at SO36 for example. I was there watching She Past Away for example. Concerts are something I’ve been missing a bit. But sometimes I don’t have the time between touring and then we have the obvious reason that there haven't been so many concerts as well.” Speaking of touring, it’s something that is a big part of his career and also something he enjoys if it’s not too hectic. Outside of Berlin, there are several clubs and cities that have inspired him and to which he's always happy to return. “I really love Tbilisi in Georgia and I’ve been going there for 6 years now as a resident DJ at Khidi. It feels like a second home for me. The vibe of the city and the people involved in the club really became family. I also had a residency with my label BITE in Vilnius, Lithuania. Spain is also really good with its long history of techno, and I always love going to Madrid and Barcelona. And then we have Kyiv and ∄. But I don’t know how to talk about that right now. I have my family from there, my great grandparents, so there's some generational attachment to the city.” Phase Fatale, Shot by Daniel Iglesias When he's not out touring and filling the dance floors around the world, he spends his time in Friedrichshain, which has become his base since he moved to Berlin. He admits that he often attends parties and watches friends, and colleagues play, but there’s also another side of Hayden Payne that shines through. “I like Naruto and reading books too. And I’ve always liked going to museums. There are so many people who've been living here for a long time and then they never made it to visit a museum, I mean that is something you should definitely do.” It’s the creative scene and the vibe in the city that makes him want to stay in Berlin. “There’s a lot of people here doing many kinds of creative things, in different fields and we see all these cross-collaborations. It’s mixed together, everybody goes to different parties and that’s how you create new sounds and new directions. When everyone is in their own little bubble, nothing can really evolve. I love the fact that there are so many creative people in Berlin, which creates unique opportunities. Everything from photographers and videographers to fashion designers that you can reach out to and collaborate with. That also influences the music scene.” During the summer Hayden will be busy touring and in the latter part of the year we can expect new music. “I will continue working on more solo music. The biggest thing is my ongoing collaboration with Pablo Bozzi: Soft Crash. It’s combining different things from italo to electro, dark wave, techno, industrial and drum n bass. More than that I’m working on a few remixes that are coming. I also have this project called Vague Méchanique which started as a collaborative track for the Ostgut Ton compilation last year. And focusing on my label BITE that has releases from Pablo Bozzi, Halv Drøm, and New Frames out soon.”

Ogazón lefter Amsterdam for Berlin and had a talk with Playful Magazine about inspiration, record digging and how she's preparing for a set. Nathalie Ogazón. Photo by: Michelle Falck You’ve said you’ve always been surrounded by music and that The Rolling Stones, Beatles and The Doors were among the music that was played in your home when growing up. How did you go from there to electronic music? "When I was younger, I was surrounded by all genres of music namely jazz, funk, rock, pop and everything that was being played on the radio at that time. It’s really when I started buying my own CDs and vinyls, that I took a plunge into music and started discovering artists and labels. The Doors, Beatles, Pink Floyd, Jimi Hendrix etc were the records you could find at flea markets, names that everyone recognised so indeed I did have a tendency to lean towards the record bins that held records of artists whose name I’d recognise. It’s only after I became a bit older and more independent, when I went to my first festivals abroad that I got in touch with electronic music and instantly fell in love with it. I knew from an early moment onwards that this would become a deep passion of mine." Amsterdam and Berlin are two cities that have a big impact on your life and musical journey. How would you compare them both? "Amsterdam will always be close to my heart. This is where I truly immersed myself in electronic music and where I’ve met incredible people who have had an important role in my life and a major impact on my career. This is also where I learned how to DJ, where I started to play my first parties and where I started developing my style and identity as an artist. After a few years in Amsterdam, I felt like my artistic development was put on hold- I just didn’t feel as inspired anymore. I am not sure whether that was linked to the city or if it was just my life situation at that precise moment, but I did feel the urge to move to Berlin to absorb everything Berlin has to offer, explore, gain new inputs and develop my artistic journey. I think it was the best decision I’ve ever made." What would you say is the best about each city? "It’s funny because Amsterdam and Berlin are kinda similar in some ways but so different in others. The best thing about Amsterdam is that it is rather small compared to Berlin, you have a good overview of what’s happening in and around the city and once you’re in the scene, it’s easy to find your way around it and get to know the people in it." "Berlin is different in that way, it’s huge, there’s so many niches, communities and collectives that it’s impossible to keep track of. I find it very interesting as it feels like there is so much to explore. Berlin feels more free in my opinion- I feel like I can really be myself without being as judged." As a vinyl DJ, what is your record digging process? "My favorite way of digging is going to physical record stores, taking a few hours in a day and digging myself through entire crates of second hand records. This obviously requires a lot of time and patience, as you often listen to a few hundred records to find one or two gems, if you’re lucky!" "The most efficient way to dig remains Discogs; I have a few buyers who I’ve bought records from in the past and who often renew their items. I return to their profiles, listen to their new additions and buy a couple of records from them. I love being in touch with private collectors and getting records from them. It really gives a feeling of community, connecting with the buyer, talking about music. Passing the records that you love along to someone else who likes them just as much and will take good care of them. Connecting through music, that’s what I love most about this job." Ogazón. Photo by: Michelle Falck A very wide question, but what inspires you? "Uff, that’s a really wide question indeed! I think the reason why I started DJing myself is that I have always been so fascinated about the energy flows on the dance floors. How clubbing unites people from all backgrounds and music becomes the common denominator- like a guide through the night." "Body movement, lightening, vibrations, shadows- these are all elements which captivate and truly inspire me. But I obviously also get inspiration from the environments outside the club context- I feel like my eye is attracted to shapes, patterns, shadows, lines which is often found in architecture but also to reflections, organic movement, warm colors and shapes often found in nature." As a raver yourself. What makes a set a good set? "I think nowadays, when music is more accessible than ever, the selection of tracks is the dominant feature for me to stand out as a DJ. Vinyl inevitably requires a certain level of preparation, but beyond that I place a lot of emphasis on diverse, specific and thoughtful selections with the goal of stirring emotions in both the crowd and myself, and creating a space where new memories can be formed. However, I can only achieve this by always leaving some room for improvisation. Over time, you develop the sensitivity to recognize such moods and adapt to them during a set, which for me ultimately characterizes the uniqueness of a DJ." What are you cooking for Panorama Bar this weekend? "What I love about Berghain/Panorama Bar, is that the standard DJ slot is 4 hours. You can do so much in four hours. I always like to tell a story with my music, take the audience on a musical journey with me. Depending on the running order, who plays before and after and the time of the set, I adapt. Since this is quite a prime time slot (16:00-20:00 Sunday afternoon) I was thinking of starting off with a banger to keep the energy up and grasp the audience’s attention to then slowly cool down again and build the set up from there. I dug a lot of old school 90’s UK and US House and tech-y, sexy, bassline heavy records which I had planned to play at the beginning of the set to gradually develop into an a bit more upbeat, classic Pano House set." "I just heard that I might play at the garden which once again will have an impact on my set since the setting is different- in that case I’ll play some more jolly, disco-infused summer tunes. I let the weather decide what I’ll play this weekend- either way, I can’t wait!"

The Berlin-based artist Luca Eck weaves together the raw intensity of industrial techno with the audacious allure of experimental pop music. With a knack for blending genres and pushing boundaries, Luca's musical journey has taken them from being a nerdy outsider as a teenager to becoming a visionary in the underground scene. Luca shares their personal evolution, the fusion of their favorite genres, the intersection of politics and music, the challenges facing the techno scene, and the importance of safe spaces. What 3 words would you use to describe yourself? Kind, Clumsy and Curious Who were you as a teenager? For the majority of my teenage years, I was more of a nerdy outsider. I felt very alienated from the people around me, particularly regarding my sexuality and gender identity. I never quite fit in with the boys at my school and was completely unaware of alternate or nonbinary gender identities. Between 14 and 16, I tried to fit in with the popular guys, changing my style, language, and behavior to mirror theirs. Surprisingly, these attempts succeeded, and I became part of their friend groups. Even though I finally had some social capital, I really lost touch with who I am and was still very insecure about myself. The silver lining was that this period boosted my confidence, allowing me to gradually shed the layers I put on and really embrace who I am. Funnily enough, techno was considered to be super weird at my school. It was impossible to find anyone to go clubbing with and literally no one wanted to be a DJ. I think if I was a teenager today I would have an easier time finding someone who shares my interests. Luca Eck interview Playful Magazine – Director/Photographer: Paris Seawell You got into techno through Pan-Pot as a 14 year old - back then, what did you feel it was giving you? From the beginning on, my passion for electronic music was driven by an interest in the processes behind the music. Before discovering techno, I listened to everything from Eurodance and Deep House to Hardstyle. Techno really stuck with me because its soundscapes were the most puzzling and complex to me. It was the rawness and imperfection of techno that resonated with me more than any other genre I had previously listened to. What does the blend of industrial techno and experimental pop music bring you? / How did you discover it’s genres that vibe with you, and that you wanna develop and bring out to others? I have always been drawn to experimental pop music since the productions can be very out-there and intense. Similarly, with techno, I am more interested in harsh and noisy sounds that, for many, might be painful to listen to. Until I decided to combine them, both genres were completely separate interests of mine. Once I did that, it was a very intuitive process of identifying the specific aspects of each genre that I feel the biggest connection to and to try and bring them together into something new. Luca Eck interview Playful Magazine Do you believe politics and music align? / If so, what does it mean to you? / How so? I think everything we do is political at its core, and so is music. Not all music may be explicitly political, but to me, it's impossible to separate the two. Music can provide a medium for a community to express themselves, which can in turn reflect and inspire political sentiments. That's how most movements within electronic dance music were born. Today, nightlife and the music industry are so detached from the history of these movements and instead centered solely around entertainment. Especially now, it's important to remind ourselves that politics and music are deeply entangled, and we should try to understand clubs as political spaces and foster critical awareness within nightlife. If you could change one thing within the quickly growing techno scene - what would that be? I am always really conflicted about techno entering the mainstream. On one hand, it of course benefits many artists, but on the other hand, we are losing a lot of the community aspects of the scene. In Berlin, techno parties are now a viable business model, and more and more events compete for a limited audience with increasingly larger line-ups and extravagant productions. The stiff competition and rising prices have made the financial risk associated with parties so big that many DIY concepts and small events have been driven out of the scene. It's paradoxical that techno attracts more people than ever, yet many spaces struggle. Unfortunately, this development also makes it harder for safer, politicized spaces to exist since so much energy needs to be spent on sustenance alone. Promoting the existence of politically aware spaces goes hand in hand with the affordability of realizing small-scale DIY events. What’s your view on safe spaces? Do we have them? Do we need them? What’s the future for them? I think a lot of safe(r) spaces in a nightlife context are threatened by the growing popularity and commercialization of techno. We definitely need them, but they are no longer easy to maintain. Nevertheless, there are some things any party can do to make clubbing a more inclusive experience. For example, enforcing a zero-tolerance policy against harassment and abuse through awareness teams. Selection at the door can also be beneficial, especially for Queer or FLINTA-spaces, but many events are no longer in a financial position to do meaningful selection at the door. Ultimately, I think we should appeal to people to ask themselves - am I intruding on someone else's safe(r) space here? Be aware of the space you are taking up. Be kind, open, and respectful to the people around you. How come you decide to live in Berlin today?/ What’s the best thing with this city? Being born and raised in Berlin, it is first and foremost my home. As in any big city, growing up in Berlin meant having endless possibilities at your fingertips. My girlfriend and I relocated to Glasgow in 2020 and have been dividing our time between the two cities since. I really value the contrasting characteristics of these cities. Glasgow's slogan 'People make Glasgow' truly holds up; I have encountered the most caring, genuine, and open-minded individuals there. It's a welcoming place, especially for newcomers like me, something that Berlin lacks. Glasgow's vibrant club scene, diverse DIY parties, and safe spaces also add to its unique charm. On the other hand, Berlin offers a higher standard of living, superior healthcare, housing, employment opportunities, and culinary experiences. Luca Eck interview Playful Magazine What’s your perfect Berlin Summer day like? (Take us with you! From morning to night/ or next morning) Berlin summers are the best! Ideally, I wake up around 09:00, grab a snack, pack my picnic essentials, and head out with friends. After enjoying a delicious brunch, we head out to Flughafensee or Krumme Lanke to channel our inner Germans and reserve the best spot with a towel. A perfect summer day would also include an open-air early-evening gig, preferably a b2b with my musical other half, Nur Jaber. Afterwards, a big dinner at one of my favorite restaurants, and if I want to go all out, I would enjoy a bottle of beer sitting by the Spree in Moabit and a late-night walk. To be honest, my ideal Berlin summer day would probably end with me being home before 23:00, cozying up in bed with my partner and watching shows. I love Photo Credits: Director/Photographer: Paris Seawell Producer/Stylist: Detroit Law Hair Artist: Ponyboy Glasgow Make-Up Artist: MV Brown Production Assistant: Hayley DrummondClothes: Joshua Rogers, Iga Kampa Jewellery: Sapiensi

By: Kristina Kirkliauskaitė Photos by: Markus Glanz Pooja B interview by Playful Magazine Coming from India, then living in the Middle East, and now being based in Berlin. Pooja goes through the journey of navigating her identity, creating inner peace and what it's like to be a queer Indian DJ in today's techno scene and beyond. Pooja was born and raised in Pune, India, where "nightlife wasn't so much of a culture." She discovered techno for the first time when working as a flight attendant, based in Chennai. Just before moving out of India, she started to play music in 2009, slowly sliding into her DJing journey. As she started to work at one of the world’s leading airlines, flying became a turning point in her music exploration. "While traveling, I listened to newer stuff, and when I started Djing again, I tried to bring it back into my sets." However, crowds had a mentality that they wanted to hear stuff they knew from radio or TV. "That frustrated me because I was trying to introduce new music, but people still weren't receptive to it because they hadn't heard it before. I thought fuck this shit. I don't want to play stuff that people listen to constantly. It was an intentional shift from playing commercial music to house and more and more techno." Pooja shares her experience of DJing while living in Dubai in the 2010s. Differently from commercial clubs and lounges, the underground scene in Dubai wasn't that concentrated with female DJs when she lived there. "When I started Djing again, I often used to be the only woman in a line-up except for a party series by a queer woman. Over time, I became known for playing obscure techno that wasn't popular back then." She also shares the issues of fostering an underground scene there generally. "When a scene exists in places like the Middle East or India where nightlife is so anti-culture, running events is really challenging and takes immense passion. The underground scene has existed for over 20 years, with notorious parties, gay nights, and desert raves, but not much was documented until recent years, and much of the world doesn't know about it. I held residencies with Analog Room, Electric Days, and Warped, and I feel grateful to have been a part of that scene and witnessed and played for some of these events. Analog Room and Warped are the two longest-running underground nights that have rigorously pushed the boundaries in a city where super commercial clubs and bottle service were the norm. I've been a resident at both and had the opportunity to see the workings of these and other parties that friends organized from up close. While many industry heavyweights have played there, the scene roots firmly in the incredibly talented local DJs who have been foundational in creating a robust scene there despite all odds." Pooja highlights that the scene in the UAE has been growing steadily over the years. Herefore, she touches on what it was like to be a DJ from the Middle East. "Back then, the hardest part was being taken seriously. People in Berlin and other cities with a healthy electronic music scene would often be dismissive when they learned I was based in Dubai, even though I played in other parts of the world. Some found it shocking that a scene even existed there or in India." Pooja B interview by Playful Magazine Hearing a lot about Berlin's club scene, in 2016, she made her first trip to Berlin. "I was at the coat check at Berghain, and on the stairs on the side, there was this man who was naked with a ring on his dick, just standing there casually eating a banana. I thought, okay, anyone can just be, and that's fine.” Pooja emphasized Berlin as a place of acceptance and genuine belonging after experiencing club culture in Tresor, ://about blank and Golden Gate as well on that trip. The idea of living in Berlin followed her for a few years, and she mentions: "Having an Indian passport is already a big challenge for getting any visa, so I wasn't sure how I was gonna get here, especially since an artist visa was out of question having payslips from airlines." Pooja saw a job posting for Ableton in the Female Pressure group, where she applied despite not meeting all the requirements. Soon, she left her job at Emirates Airlines without having a job with Ableton yet. "I quit in the middle of the pandemic, and my mom thought I was crazy. People are getting fired, and you are resigning from such a great job. At that moment, you know, it just felt right.” Eventually, she made her dream come true – she got a job at Ableton, where she still works till this day – and moved to Berlin in 2021. Even a few years before moving to Berlin, she started to struggle with her sexual identity. Being married for over 10 years put even more weight on the situation. "As a woman, I have fought so much in the system and against the system that my female identity is dear to me. I figured that both parts of my identity could exist. It could be that I'm attracted to women and men, and that's okay." She adds, "I needed to move away from where I was, and Berlin seemed like the perfect place to explore identity." At the same time, deep diving into her sexual identity wasn't the only clash. "The other bit of my identity was not having a sense of belonging that I struggled with. Because I was a flight attendant, I didn't have regular days off like everyone else, often missing plans and important occasions. I had good friends worldwide but also a huge lack of belonging. Yet Berlin has given me that. I felt that belonging when I first arrived." Pooja describes Berlin as a liberating place that "gives you the space to breathe, explore and try out different aspects of your reality." She also adds: "In contrast to places like Dubai or India, where such freedom is restricted, here I have the opportunity to contemplate and even experiment with other parts of my identity, which makes me feel belonged." Pooja B interview by Playful Magazine Pooja shares that she still faces some widely applicable stigmas in the scene. "People here seem woke, but I've noticed instances of racism that they're oblivious to. From comments about my English skills to differential treatment, my POC friends and I discuss how males presenting POC face micro aggressions, particularly from door staff. Meanwhile, POC women can be objectified and exoticised." Tokenism is another reality she comes across in the city. "It becomes evident when I'm the only POC artist on a lineup, where my inclusion seems more like a token gesture than a genuine effort to promote diversity. Once, I was basically told that my success as an Indian woman in Berlin was solely due to my ethnicity and recent arrival. Such comments reflect a lack of understanding and awareness, highlighting how deeply ingrained racism and tokenism can still exist." "You'll be surprised by how many people don't realise they are being racist or tokenistic. They may consider themselves progressive or "woke" but fail to recognise the harmful impact of their actions and words. It underscores the importance of continuous education and dialogue to address these issues and promote genuine inclusivity." She continues about having the pressure to represent her queerness very obviously. "Feeling the need to put in extra effort for acceptance is hard to express. Also, revealing my queerness or fully embracing my identity isn't something I lead with. I noticed that queer spaces often lean towards being predominantly white, male, and gay. If you aren't primarily in queer circles, don't look a certain way or if you're bisexual, then you aren't really queer enough. Although I've gradually found more diverse spaces, indicating the need for overall balance." Having her unique experience and learned lessons, Pooja emphasizes the vital role of self-acceptance. "Having an identity of any sort is not for someone else. It's for yourself, which means I have to learn to be okay with who I am, what I'm wearing, what I'm saying, what relationships I have, what my kinks are, and with all of this, it's okay to be one or the other or both. Belonging is when you feel you can be anyone or anything." When asked what advice Pooja would give her younger self, the answer is clear. "Don't worry about fitting in. I can belong anywhere, just the way I’m." Explore Pooja’s music Instagram Soundcloud Resident Advisor

Guide: Where to Party for CSD Pride in Berlin With conservative and right-wing politics rising all over Europe, this years CSD Pride in Berlin feels even more important. Playful Magazine's Editorial team lists the clubs to go to after the demonstration. As the vibrant and diverse LGBTQ+ community gears up to demonstrate on CSD Pride in Berlin, the city is also buzzing with excitement and anticipation for a series of sensational parties. Among the plethora of events lined up, here are our top destinations where you can revel in the spirit of Pride, dance till dawn, and embrace your authentic self. 1. Fourplay CSD Edition at Sage Beach In celebration of their 7th anniversary, Fourplay invites you to break in the joy of community. As an iconic gathering, Fourplay transcends the boundaries of just a club event; it is a testament to the unity and acceptance within the LGBTQ+ community. The sun-kissed vibes at Sage Beach provide a unique experience that complements the wild nights at Kitkat Club, where the club usually host their events. Rejoice in the company of like-minded souls as you dance under the daylight, fostering connections that transcend the bounds of time and place. 2. Herrensaunda Pridefest Situated in the historical grounds of the former Bärenquell brewery factory, Herrensaunda Pridefest beckons with its state-of-the-art sound systems and converted warehouse dancefloors. Dance to the beats and let yourself be carried away by the mesmerizing sound of Kirsch Audio's custom creation. Conveniently located near Schöneweide station, the journey to this queer sanctuary is short, making it an easily accessible haven for party-goers coming from various parts of Berlin. 3. Lunchbox Candy presents 'The Ket Gala' Indulge your inner rebel and revel in the anarchy at Lunchbox Candy's 'The Ket Gala.' Embrace your unique self, celebrating the vibrant spectrum of queer identity. This playground for the weird and wonderful welcomes everyone ready to challenge norms and norms, flaunting individuality with a COCKtail in hand. Get ready for an unforgettable 20-hour celebration where you can lose yourself to find your true essence, surrounded by a fabulous array of hosts, DJs, and performers. 4. Ravemore CSD Special Prepare to be swept away by the extravaganza that is Ravemore CSD Special. Join the parade truck in partnership with Mampe Berlin, and march to the beats that unite the community. The party concludes with a massive rave at Club Ost, where an enigmatic Ravemore All Star will grace the stage, promising an unforgettable night of electrifying energy and euphoria. 5. Golosa Bubbles CSD Rave Following the exhilarating demonstration, Golosa Bubbles invites you to an unforgettable rave, where sparkling bubbles accentuate the celebration. As you dance through the night, three distinct floors will offer a variety of beats, vibes, and voices to captivate your soul. From House & Rave Unicorn to Comet Techno floor and the enchanting open-air Flamingo garden floor, the party promises to keep you dancing till the early hours of Sunday. Follow us on Instagram for the latest updates and content from Berlin's underground scene.

Playful Magazine's Picks: Best places for a night out in Berlin Berlin, the vibrant capital of Germany, boasts an exciting nightlife scene filled with hidden gems waiting to be discovered. If you're looking for a thrilling night out, Playful Magazine's team has handpicked close to 100 of their favorite bars, clubs, and restaurants that offer a unique and unforgettable experience – available for our Patreon supporters. Join us as we unveil these top-notch venues, and at the end of this article, we'll provide you with our exclusive Google Map, featuring more than 80 recommendations that will make your Berlin adventure truly exceptional. Explore Berlin's Hidden Gems with Playful Magazine's Google Map We understand that a true adventurer craves variety and seeks the thrill of discovering their own hidden gems. That's why we've created an exclusive Google Map with more than 80 recommendations, including the top three picks mentioned in this article. This map is a treasure trove of the best bars, clubs, and restaurants in Berlin, where you'll find the city's most exceptional and off-the-beaten-path establishments. On Playful Magazines Patreon page – there is now an interactive map available with all of the editorial team's favourite places in the city. From quirky cocktail bars to eclectic clubs and mouthwatering eateries, our Google Maps guide of Berlin is your passport to an unforgettable journey through Berlin's nightlife is available for our Patreons. Become a Patreon for as little as 4€ a month and support the work we do + get access to all the extra material from the podcast. Say goodbye to the mundane and embrace the extraordinary with Playful Magazine's handpicked selection of Berlin's finest hidden gems. Get ready to embark on an adventure filled with memorable nights, tantalizing flavors, and the beating heart of Berlin's underground scene.

Photos: Samuel Saidel Chontane interview for Playful Magazine. Photo: Samuel Saidel Chontane is becoming a bigger and bigger name, famous for blurring the lines between techno, breaks and electro. With Playful Magazine he spoke about his musical background and influences which involves everything from german rap to jazz. You grew up in Berlin - what did your electronic music journey look like? "I started listening to minimal and house relatively early and also started DJing with a controller and going out at smaller events here in Berlin. It felt like there were more clubs and smaller events back then as well. At the age of 16, I initially started producing with Garageband, later moved on to Logic Pro, but quickly switched to Ableton Live as it was much more organized and intuitive. Around the same time, I also began DJing with vinyl records. Initially, the turntables were belt-driven, but later I got Technics ones that have never been faulty since I bought them. My "studio" in my room at my parents place back then consisted of a few speakers, a MIDI keyboard, and an old iMac. Over time, I have collected various devices and synthesizers, and nowadays I enjoy working both digitally and analog. Who were you as a teenager? "I was often out and about at festivals and clubs even at a very young age. I spent time with friends in parks, at home parties or in bars. We had many long nights and experienced a lot at a young age. I had difficulty concentrating in school, listening was tough for me. When I started my Sound Design studies, things got better because it was something that interested me." "As for music genres, I went through a crazy development. From German rap to metal and death-core, to my father's dub reggae CDs and indie rock, I've experienced it all. I still enjoy listening to my father's CDs to this day. Among them are Rhythm & Sound, Lee Perry, and King Tubby. But also Nirvana, Led Zeppelin, or Fela Kuti. So, it's a real mix. I find that it inspires and helps in one's own work the more you educate yourself musically and the more diverse your listening experiences are." Was there ever a moment when you ‘fell in love’ with it – if so, what was that moment? "I understood relatively early, after I started going out, that this is what I want to do. By the time I began producing and started my sound design studies, I knew that this would be my path. I want to continue investing all my energy into music and sound design, and I am convinced that I will hopefully be able to do this for many more years to come. However, with each gig and each release, I also realise that what I do brings me incredible happiness, and it is a great privilege that I have." How come you decided to start producing music yourself? "I believe it happened quite intuitively because I went out a lot and loved the music so much that at one point, I thought, "I would like to do that too." I listened too many DJ sets, watched DJs perform, and attended parties to improve my skills. I learned the production process itself with friends." Chontane interview for Playful Magazine. Photo: Samuel Saidel What has that journey looked like, and what has shaped your sound? "In my early years, I played the piano for 8 years. I also listened to a lot of classical music, as well as rock and jazz. I explored many music genres over the years. To this day, I love jazz, classical music, and film scores. Bands like Tame Impala and Radiohead are also very inspiring to me because of their unique sound and style. The old boom bap and G-funk styles were also influential for me. Later on, I started playing garage house and eventually transitioned to dub techno and the early 2000s techno sound. Legends like Jeff Mills, Robert Hood, Juan Atkins, The Advent, Aphex Twin, Bords Of Canada, Vince Watson and Joris Voorn are still big idols for me to this day. Nowadays, artists like Blawan, Stef Mendesidis,Troy, Alarico and Chlär are very inspiring to me. But often, genres that one might not necessarily produce oneself can be helpful in creating one's own music". What about Berlin makes you stay in this city, still, to this day? "It's the city where I was raised and my whole family and friends are here. It feels good to come back from a trip home back to Berlin and it still feels right. But I also can imagine myself moving to some place more in the wild or next to a mountain area." You’ve also had a release recently on Shadow & Obscure Shape’s label Mutual Rytm, wanna tell us about the process and your feelings about the end result? "It was a somewhat longer process. I struggled a lot with myself. I was very dissatisfied with my sound and wanted to create something new. Marco supported me greatly in pushing my boundaries and creating something new for this release. For this release, I tried new production approaches and processing methods. I spent a lot of time exploring my equipment and conducting recording sessions to generate new and interesting sounds. I believe that in the end, I managed to create something innovative and I am very satisfied with the outcome." Lastly – please take us with you on a club night in Berlin – where would it start and end? Who would play, etc. "I think first, I would go with you guys to a nice restaurant. I like traditional Chinese cuisine, such as Sichuan or Cantonese. We would also maybe spend some hours in a nice bar. After that, we would go to Berghain. The reason why I love this club the most in Berlin is the building itself, the interior design, the atmosphere, and, of course, the sound and the artists who perform there. I had a lot of great nights there. You always meet friends or people you know even if you go alone. So I think we would stay for a long time there enjoying the music and having a good time. It’s also not unusual to go twice there depending on the timetable as the club nights are going until early Monday morning. Eventually, we would leave the club and let the night wind down somewhere along the Spree or somewhere in the park.." If I could create an entire Berghain lineup, it would look like this Berghain 23:59 Rifts 04:00 Fireground LIVE 05:00 Deetron pres. Soulmate 09:00 Stef Mendesidis LIVE 12:00 Funk Assault 15:00 D.Dan 18:00 Luke Slater 22:00 Blawan 02:00 Ben Klock & Marcel Dettmann Panorama Bar 23:59 Stenny 04:00 Fadi Mohem LIVE 07:00 Etapp Kyle 10:00 Ogazon 13:00 Brawther 17:00 Kerri Chandler b2b Jeremy Underground 21:00 Skee Mask B2B Victor 01:00 Ben UFO b2b Joy Orbison Säule 19:00 Shed LIVE 20:00 Dopplereffekt LIVE It would be hard to leave with such a lineup, haha. So I guess we would stay for a long time. Eventually, we would leave the club and let the night wind down somewhere along the Spree or somewhere in the park.

Photo by: Analia Piacentini RUIZ OSC1 interview for Playful Magazine, photo by: Analia Piacentini We had a chat with RUIZ OSC1 about her new EP on Héctor Oaks label KAOS. And this one she describes as a small revolution. What has the work process looked like? The journey of Grooveroots began last year when I embarked on a tour in South America, specifically in Colombia. During this tour, I also took the opportunity to visit my relatives in Colombia. Whenever we spend time together, music and dance are always involved—music that we've been listening to for as long as I can remember. I thought it was possible to merge two genres that genuinely excite me. I already had the electronic foundations for each track, and in three of them, I added vocals from songs that have the ability to tell the story of Colombia—tales of love and celebrations with melodies that resonate like symphony orchestras. "Hector was captivated by this puzzle, and we thought it would be a great idea to release an album with these characteristics. It took a year to properly blend all the elements and create this blend of Latin techno with a touch of 90s nostalgia." What story do you want to convey through the tracks on the EP? "For me, it was challenging as a Colombian citizen on some occasions. For example, due to a problem we are all aware of—the drug trafficking issues in the 80s—I am not allowed to travel to certain places around the world. I want people to hear "I'm Colombian" and not immediately associate my country with negative things. Instead, I want them to think about the beautiful music that comes from Colombia or all the other positive aspects of our country. I want to share that with you." Where can we see more of you this fall? "You can catch more of my work on the production side, as I have many new tunes coming out. Of course, you can also find me on the dance floor, spinning my beloved records in Europe, South America, and around the world. Oh, and please don't miss the KAOS showcases; they promise to be explosive!"

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