Golden Pudel Club

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„Es gibt 2018 nur noch wenig Gründe, sich für neue Gitarrenrockmusik zu interessieren. Gerade wenn sie von deutschsprachigen Musikern stammt, muss man sich schon freuen, wenn sie nicht politisch reaktionär oder trübe vergangenheitsselig ist, sondern – das ist der beste Fall – bloß als Soundtrack für die öden Nöte weinerlicher Mittelschichtsmänner dient. Umso größer ist die Überraschung, dass die schönste und schlaueste, wärmste und kühnste, traurigste und lustigste deutsche Pop-Platte des Frühjahrs von einer Gitarrenmusikgruppe stammt. Die nennt sich The Screenshots, und auf ihrem Debütalbum Ein starkes Team hat sie uns sieben Songminiaturen geschenkt, in denen ein verzweifelter, aber nie jammernder Mann mit dramatisch sich überschlagender Stimme über Einsamkeit, Liebe, Helmut Kohl, Sehnsucht und die Angst vor dem Ende der europäischen Einigung singt, und all dies zu scharfkantig zersplitterten Kraftrock-Akkorden.“ Die Zeit (April 2018)
ERDOGAY - future yallah edition


> Anika Väth
> Best Boy Electric

> Möses & Yesus
only live mixes

Artwork: Stefan Marx

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New York-based DJ, producer and electronics artist Antenes operates a laboratory of self-made sequencers and synthesizers using vintage telephone equipment built in the name of sonic and spatial exploration. Known for her inventive soundscapes and eclectic DJ sets, Antenes treats the studio as a space for sculpting emergent patterns, textures, and percussion layers. Drawing musical influence from the curious and ephemeral sound-world of outdated telephone systems, her productions and live sets often integrate sounds reminiscent of pulsing analog relay switching systems, errant radio transmissions, cross-continental echo, signature drones and message interferences between the wires.
A Brooklyn resident by way of Chicago, her vinyl DJ sets dive into acid-laced techno, shimmering electro, shadowy atmospheres and beyond, with a particular ear for odd percussions and syncopations. Her sensibilities as a DJ have awarded three of her podcasts (LIES 025, Juno Plus 119, and Phormix 44) to be featured in Fact Magazine’s Week’s Best Mixes column. Her 2015 solo production debut, ​The Track of a Storm​ EP on ​L.I.E.S.​ reveals three tracks of otherworldly techno infused with “lazer shot synthwork,” “ghostly noise layers,” “muscular bass shapes and sparking percussions,"(per Boomkat) appearing on the 2015 best-of lists for Juno and Fact magazine. She recently collaborated with Moog Music in modifying their analog circuits into new instruments for a large scale installation and durational performance, “The Exchange” at MoogFest 2016. Her first collaborative/duo performance took place alongside Electric Indigo at the Roulette Theatre in Brooklyn, in support of synth pioneer Suzanne Ciani.
A devoted practitioner of boundary-crossing between genres, Antenes has held residencies for electronic arts at Harvestworks (NYC) and Signal Culture (Owego NY) and has appeared at numerous interdisciplinary events including the New York Electronic Arts Festival, Fermi National Accelerator Laboratory’s “Intersections” exhibition (Batavia, IL), Open House London’s Sonic Visitations, and Trinity College’s Science Gallery (Dublin). Inspired by the Buchla 100 modular system, her synth work is featured in the 2013 film I Dream of Wires: The Modular Synthesizer Documentary, as well as in several master’s theses including Mills College, Fashion Institute of Technology and Clemson University. She also leads hands-on DIY synth workshops, having recently lectured at CalArts, Oberlin, and UC-Boulder’s music departments, along with Monthly Music Hackathon, Dame Electric at Pioneerworks and Women’s Synth Workshop at the Kitchen (NYC). Antenes is currently an Artist in Resident at Issue Project Room, co-sponsored by Bell Labs. See also ​
Mehr dazu Carsten Jost is the production and DJ alias of David Lieske, co-founder of Dial Records. Born and raised in Hamburg Carsten Jost started his musical journey two decades ago as a resident DJ of Hamburg’s own Golden Pudel Club. It was exactly here at the weekly “Changing Weather” nights that Jost used to host together with Lawrence where the Dial sound was formed and further developed into what it is today. Out of all of the Dial house and techno artists, Carsten Jost has always represented the most precise kind of exquisitely doom-laden house, laced with equally strong doses of melancholy and beauty.
His DJ-Sets are defined by deep, medium tempo, Detroit-inflected house rhythms, accented with crystalline keys, disembodied voices at times and gently soaring Strangs.

Originally from Georgia, Irakli’s early descent into the German capital has seen him corner and develop a side of the local scene and turn it into something of an international fare. Five years ago he created STAUB, one of Berlin’s most celebrated techno parties. As a part of the production duo I/Y, he has been releasing music under the synonymous co-founded label. But most of all, Irakli’s craft behind the decks has been weighed upon by the likeliest of Berlin’s underground venues, namely Tresor, Berghain and Griessmuehle, with his vision of electronic music taken further afield in Europe, and the Americas. In 2017 he founded the Intergalactic Research Institute for Sound with artists like Stanislav Tolkachev, Natalie Beridze, Rezo Glonti and many others.

Irakli also heads up a burgeoning convey diving into exploratory concepts of ambient, hued by the tones and colors of his homeland, Georgia. Adding orchestral collaborations and sound installations to a field of work outside of the club, Irakli’s expanding platforms and industrious connection to Berlin has seen his entry point into the scene now serve as an outlet into the more abstract, experimental realms of techno. With new endeavors afoot and a creative repertoire to boot, Irakli’s DJ sets, labels and parties always display unique qualities. It does not matter whether he is exploring beatless soundscapes or high energy techno music, Irakli always manages to create something special
Danielle is a DJ and Illustrator from London, currently based in Bristol. Over the last couple of years she has had the chance to play at some of the city’s best parties including Timedance, Livity Sound and Young Echo, as well as some of the world’s best clubs such as Corsica Studios, Sub Club and Griessmühle. Her sets feature an impressive range of genres from classic house to leftfield, electro, new-wave, EBM, UK techno and beyond. She draws from an informed selection of old school house cuts, whilst keeping up to date with the newest dance music as it’s released. This is thanks to a musical education that continues to expand with her 9 years (and counting) of work at the internationally-renowned Phonica Records. In addition to hosting regular NTS shows, she is one of the mentors at the increasingly popular Bristol-based DJ workshop ‘Mix Nights’.

The 68th edition of the DJ-kicks mix series is another landmark one, with experimental producer Laurel Halo taking the reins. The American’s adventurous 29-track trip features seven exclusives, including two of her own plus those from Rrose, Machinewoman, FIT Siegel, Nick León and Ikonika.

An electronic outlier, Halo hails from Ann Arbor, Michigan, but has been based in Berlin for a number of years. Landing on labels like Hyperdub, Honest Jon’s and Latency, Halo has released a body of work ranging in style, yet cohered by production and compositional tendencies that sound distinctly her own. Her studio work tends to be a multi-layered mix of the electronic and the acoustic, the organic and the synthetic. As a DJ, meanwhile, she lays down more floor-focussed mixes of techno, bass and worldly drum rhythms, and her live sets are similarly visceral and direct.

Halo’s DJ-kicks packs a lot in to just 60 minutes. It kicks off with the first of two of her own exclusives, ‘Public Art’, a tactile piano loop that sets the melodic tone of the mix in focus. Crunchy drums soon take over and begin what is a blistering ride through electro, trippy minimalism and textures that range from icy and dubby to steel plated and sharp from the likes of Red Axes, Parris and an exclusive from Rrose.

Another exclusive, rough and ready techno cut from Machinewoman follows, before the mid section twists and turns on surging drum patterns, frantic industrial textures and spaced out gqom sounds from the likes of Griffit Vigo, Dario Zenker and Final Cut. This is a mix forever on the move: one minute its tightly coiled and kinetic, the next it’s loose and joyful before switching into more cerebral and insular passages that keep you intrigued. Fusing together so many disparate sounds and textures is no mean feat, but like everything Halo does, here they all add up to something as thrilling and edgy as it is unpredictable and compelling.
Richard Devine is an Atlanta-based electronic musician and sound designer, currently employed by Google. He is recognized for producing a layered and heavily processed sound, combining influences from glitch music to old and modern electronic music. Devine largely records for the Miami-based Schematic Records, which was founded by Josh Kay of Phoenecia. He has also done extensive recording and sample work with Josh Kay under the name DEVSND. As a result of praise of his music from Autechre as well as a remix of Aphex Twin’s Come To Daddy, Devine recorded an album for Warp Records which was jointly released by Schematic and Warp.

Devine also uses Native Instruments (NI) software and has used Propellerhead ReBirth RB-338 and Reason.[1] His favorite NI applications are Reaktor and Absynth. Devine has designed sound patches for Propellerhead’s Reason,[2] NI’s Absynth, Reaktor, Battery and Massive, along with providing sound patches to Moog Music’s award-winning Animoog app. He has also scored commercials for Nike, Touchstone Pictures and engineered and performed his own music worldwide.

Devine’s next album ‘Sort/Lave’ will be out November 2nd on Venetian Snares’ Timesig.

"This is the future of post-drum & bass breakbeat culture ... totally millenium's edge and running, mate." - Dego of 4Hero

Jason Hogans is a producer, vocalist and multi-instrumentalist who first impacted through Detroit’s electronic music scene, impressively debuting on Carl Craig's Planet E in ’98 with an EP called ‘Peter And The Rooster.’ ‘Peter And The Rooster’ combined drum & bass, techno, jazz, and hip hop elements in a brilliant display of creativity and experimentalism, helping to pave a new direction for Planet E. It was through a fellow producer and friend, Matt Chicoine that Hogans was introduced to the Planet E camp. Fans of one another's work, Chicoine (Recloose) introduced Hogans to Planet E director Carl Craig once he was signed as an artist to the Detroit based label.

Hogans has consistently paved his own unique trajectory, creating diverse and forward-thinking sounds which transcend the confines of many mainstream musical genres. Rather than following the obvious creative path after his debut, new musical blends came after Hogans' experimentations with multiple styles such as folk, minimal, punk, glitch, soul, reggae/dub, jazz and more. This convergence of flavors could be heard on his 2005 release under his newly created :brownstudy moniker, ‘Tell Me More About Bubbles’ on the Third Ear label. ‘Tell Me More About Bubbles’ was Jason's first professional release featuring his own vocals and solidified his reputation as a lyricist as well as a producer. Hogans' relentlessly experimental eclecticism continued to intensify and mutate with stylistically diverse releases on Mahogani Music, Faces Records/MCDE, his own Really Nice Recordings label and more all the way through to :brownstudy's ‘Life Well Lived’ in 2014, also released on Third Ear.

Following 2014’s well-received LP under his :brownstudy alias, 'Life Well Lived,’ Jason Hogans stepped away from the mic to focus on an LP of flawless instrumentals. Returning to production under his own name for the first time in nearly two decades, 2016’s ‘The Age of Scrap’ belies its title to instead deliver a forward thinking record rooted in classic Detroit, fused with futurist sonics that refuse to look back. Hogans organized his own European tour to support the LP, with stops in Strasbourg, Paris, Heidelberg, Amsterdam, Brussels & London.

Inspired by his traveling and performing, 2017's 'Work The Terminals' EP (Moods & Grooves) picks up where Hogans left off with 'The Age of Scrap' LP on Third Ear. Bass-heavy future funk & house with a broken beat twist. All good for the dancefloor unlike Jason's more experimental debut, 'Peter and the Rooster' on Planet E. 'Work The Terminals' features the effortlessly awesome vocal and bass guitar talents of Paul Randolph and a dope Andrés remix.

Jason has been staying busy with heartfelt vocal features, self-released beat tapes, innovative remixes and engaging live performances throughout Europe and the United States. Not content with a single performance style, you will find him in front of turntables playing house and techno records, blending live electronic beats on his hardware, rocking the microphone or any combination of the above. Jason has been fortunate to share both stage (Faruq Z. Bey, Sinistarr, James Blood Ulmer, Tadd Mullinix) and studio (Jimmy Edgar, Kevin Saunderson, Paul Randolph, Anthony Shakir) with many talented & respected artists from all over the world and is currently developing releases for multiple labels across the globe.

"Lovely experimental stuff. No faking it here." - Luke Vibert aka Wagon Christ

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