It is certain that Berlin has created a name for itself in the world club scene. So much so that people travel the world to experience the nightlife. Many clubgoers from abroad are taken aback when their club going vacation comes to a halt trying to enter the top clubs of Berlin. You often read reviews of angry clubbers releasing their anger from a night trying to enter Berghain, Sisyphos, Watergate, Tresor, etc. This is especially a shock for US clubbers who are accustomed to clubs that will accept anyone over 21.
(Clubber in Berlin)
So has this notoriety created a buzz around Berlin? Perhaps. It is human instinct to want to feel accepted, especially in a nightlife scenario. The king of unacceptance is Berghain. Many claim that Berghain's big bouncer, Sven has an extremely selective view for whom he lets into the club. In a recent interview he said this:
"Being a bouncer, his book argues, is all about fostering the "right mix": "I don't mind letting in the odd lawyer in a double-breasted suit with his Gucci-Prada wife. If they make a good impression, let them in.
"We also take guys in masks and kilts, or Pamela Anderson blondes in run-of-the-mill high-street outfits who tag along with bearded blokes, licking the sweat off each others' armpits. That, for me, is Berghain."
(Notorious Sven)
The idea of selectiveness has definitely helped Berlin to grow. It is easy to create a name for yourself but it is not so easy to create a name that few people get the chance to see. Berghain's minimalistic website pushes this idea even further. They do not reveal themselves, but rather serve a platter of uncertainty and fog. From a marketing standpoint, this is the ideal situation. Get yourself so well known that you can let in the people you like while keeping others on their toes. It creates hype and most importantly still pays the bills.
(Berghain's Current Homepage)
I will say that Berghain's marketing is ideal. So why doesn't everyone do it? Well the conditions for Berghain's notoriety were ideal. The wall came down and people were searching for an expressive place for partying. Berghain's untainted environment created the food that people were craving. With that they created the selectiveness. It is rare that you find a club as Berghain in other parts of the world as well. There just isn't the same need for it.
(Berghain's Size)
Is the Berlin selectiveness changing? Well of course. As Berlin's face becomes more professional and business/ tourist oriented so do the clubs. Old berliners say Berlin's scene is long gone, tainted by the incoming foreigners and outsiders. But others say that it is bringing a new life to the scene, creating an immersive environment like never before. My opinion. Who cares? So many of the people I met were tied down to the name of a club rather than the time they had at the club. I had great nights at obscure clubs, not because they were the top club, but rather because the environment was great. So I suggest if you do visit Berlin, you don't just go to the top clubs. Go to the place on the corner, you might just find yourself having an amazing time!
(Small Club Berlin)
Does this mean the top clubs aren't worth going to? Of course not! The top clubs will have the "top DJS" Their dance floors are pieces of art, the sound systems are out of this world and the drinks will be unbelievable. But it is true that clubs take advantage of the we're better than you motto. So don't get caught in the trap of believing you aren't good enough. Everyone has their bad nights in Berlin. Sometimes you go out and you get in everywhere and sometimes you don't! As Sven said, bouncers want a range. So cheers to selectiveness, and fuck it as well.
Though DJS nowadays have all of the music possible laid out in front of them on a computer, many still seem to get tied to genres or mixing types. Though these tools are great and can provide comfort, if your aim as a DJ is to take music as far as it can go, then this is a relatively unadventurous way to do so (not that I'm hating) In Berlin recently I have seen many DJS playing sets that explore different genres and mixing styles, sometimes these two go hand in hand and other times they don't. Perhaps the open mindedness of Berlin gives way for more interesting mixes, but I can say hands down that utilizing new methods, techniques and experimenting with new types of music makes you more keen to see an overall trend in music that will help you to create a more dynamic mix.
WHY IS IT IMPORTANT TO EXPERIMENT WITH DIFFERENT GENRES?
(IF YOU ARE TRULY GENRE TIED THE SECTIONS AFTER WILL BE A BETTER READ)
People argue that genres of electronic dance music are not so far from each other. But I'll be the guy to say that in the last three years due to the rise in EDM culture the "underground" has done its best to separate itself. In an attempt artists like Nicholas Jaar have created new types of "genres" that can only be described as unique. His half time approach to techno changed the scene. Even if you're playing latin, afro beat, jazz, the last decade has been a molding factor in any genre so this will still apply. The first thing about experimenting with different genres is you get a big influence of different styles of original music sometimes you don't recognize.
Moombahton, is a EDM version of reggaeton, a combination of reggae from panama and has formed mainly in Puerto Rico. Though playing moombahton you may just hear EDM, the BPM and Mixing styles are very close to that of Reggaeton songs/DJS. Another example is dub step. Though you may only thing of the half time beat that goes with Dubstep to be related to reggae, it is very close to that of garage, and dub. So when trying new genres you are exposing your self to old music styles you may have never thought of (even if you do know, why not!) It is important to have an ability to mix a wide variety of music.
Lets say you decide to DJ a night you are unsure of and it turns out the DJ before you is spinning rap or reggae, why not mix your set in with something the people are loving? A moombahton track, dub step or trap could be perfect (this is mainly for EDM DJS!) They all have a half time vibe and have influences of these genres. I've heard DJs show up to a gig and complain that it isn't their genre or their crowd, but part of the art of the DJ is MAKING IT YOUR GENRE AND CROWD.
How To Blend Genres
Some DJS they need to be genre tied, based on a residency, or prior commitment. That doesn't mean that you can't blend genres in an interesting way while staying "closer to home". Popular techniques for this are utilizing acapellas, using loops from other genres to fit your own, utilizing baselines, or top ends and utilizing interesting chord progressions in key.
ACAPELLAS
Utilizing acapellas are by far the easiest way to incorporate another genre into your style. They are easily manipulated and many acapellas sound decent when moved by BPM. Felix Da Housecat creates a disco house vibe by throwing old disco vocals on top of modern house. (See below for video) Flosstradamus creates an EDM vibe with trap by using hard style vocals. Dubstep artists use reggae, moombahton use reggaeton, trap use rap. I think the most outstanding example of this is parov stelar. He has popularized a style of EDM called electro swing and he combines swing vocals with house. That is something "Far fetched".
So try downloading a few acapellas, key them in your favorite software, throw them on top of some of your and see what comes out, you may be on your way to creating a new genre! (If you've never watched a tutorial on warping vocals for mixes on Ableton (if you dj with Ableton) I recommend YouTubing it!
(He Talks About The House Disco Combinging Here!)
(Flosstradamus Utilizing Hardstyle!)
(Parov Stelar's Famous Swing Vocals At Their Best)
Using Loops From Different Styles
As stated before using loops from different styles can be an interesting way to bring in that vibe from another genre or style while still maintaining the vibe of another. Think about some genres and think about what makes them unique. For EDM nowadays it is the Martin Garrix style drop, for moombahton the detuned drop, Dubstep the wobbles, Reggae the up beat guitar, Punk, the slowed down rough style, Swing the fast double time beat and instruments. If you maintain these key elements of each genre and combine them together you can make an interesting blend of music.
I think loops are great because they are becoming more prevalent in Djing nowadays. Traktor has the F1 now for triggering Loops, Serato has the sampler, and Ableton DJing is based on triggering loops. Not only will using loops give you the ability to change genres quickly, it will give you the ability to see music without restraints because it gives you the ability to create a piece of production right in front of your eyes, something new. And that will definitely shake up your idea of what genres mean. So as with acapellas, try to find a wide range of loops and practice listening for what makes a type of music unique. Try something you've never heard before!
Using Traktors Remix Decks and Deck Recorder You Can Create Versatile Loops!
Improvising With Loops In Ableton Can Teach You To Drop Genres On The Fly
With Serato's Sampler And The Ability To Use Your iPad/ New Pioneer Controllers With Serato, You Can Remix Like Never Before
Basslines, Chord Progressions, Melodies (Loops Part 2)
For DJs who are a little more experienced, you may want to try throwing some genre based Basslines, chord progressions or melodies on top of your mix. This skill can take a while to learn and it takes even longer to learn how to do it well. You have to have a great sense of Key, BPM and all around song structure to understand when you can utilize these. Basslines and melodies are often what we love about music. It just has that ring to it and sometimes its very infectious.
Take for example levels by Avicii. Though we may have heard it a hundred times, its still a very well plotted melody. Or for older DJs who want a better example think of Johnny Cash's ring of fire. The trumpet is unbelievably catchy. If you are trying to use these specific elements of a song, you should learn or use what you know about EQ. Find a melody you like, eq it and throw it on top of a song in your genre, how does it sound? If it doesn't sound great take the time to figure out what works and make a library with specific tags like "Old melodies for House"
Levels-Avicii
Ring of Fire- Johnny Cash
Basslines and chord progressions I will stick together because they have aspects that will be equally as difficult to use. Rolling baselines are easy to utilize but when looking at older music, sometimes a 4/4 beat just doesn't work with an old funk baseline, this is just one of the mysteries of music. We can't explain why it doesn't hold the same potency, but it doesn't so once again try to find something that works.
Chord progressions are the hardest, I'm not a music wiz. I failed high school AP Music Theory so I can't explain to you why certain chords don't always fit in key, but they don't. I spend hours sometimes going through trial and error to find a perfect chord progression that matches the key. But I definitely recommend taking some music theory, as my experiences have lead to frustration. So to put a chord progression on top of a melody or vocal (if you have no melody or vocal this is super easy) you have to know what you are doing. Do some research and learn about chords and keys. You may find it actually interests you. In addition having education in Music Theory will further teach you how styles are linked to one another.
(How To Fit Chords Into A Key)
Mixing Styles and How To Vary
As a beginner DJ you may have watched tutorials online to find out who to blend songs in a way that sounds natural, and Veterans, you may have heard the Loco Dice FX and been blown away because it totally effected how you view transitions. There's one thing for sure. Mixing styles are very unique, and though each veteran DJ know the typical fade in fade out, filter remove, bring in the baseline techniques, etc, no one knows them all. If you listen to DJs from around the world it is very interesting to hear how mixing styles change. (A new form of mixing known as tone mixing is very interesting and will blow your mind) So my point out of this is don't restrain yourself to what you know. Learning a few FX fade outs is great, but don't rely on them. You can use the EQ knobs in unique ways, FX, crossfaders, (for pioneer mixers) the new instant fx, the list goes on. Study videos online of your favorite DJs and see what makes their mix unique, is it their timing, or lack thereof? Is it the way they bring in the hi hats before the big "drop"? Do they use FX pedals in a way you've never seen done? Practice some new transitions and learn to create builds, drops, breaks, intros, outros, with everything you've got! If you see a DJ playing and their transition was unique, ask them about it, I'm sure they'll be happy to tell you.
(5 Basic Transitions)
(Mixing Different Genres)
(Loco Dice How He Plays Using Loops Pedals And A Xone 92)
(Ean Golden Explaining)
THERE ARE MANY OTHER TUTORIALS FROM DJ TECH TOOLS, DJWORX, MIXMAG, DUBSPOT AND DIGITAL DJ TIPS
Conclusion
Music is ever expanding, so why shouldn't DJS be? Though I'm not saying you should never tie yourself down to a genre, I'm trying to keep people interested in DJing in a world where with sync buttons and built in FX, can take away a DJs feeling of the mix. When these tools are used in the right way they can also expand a DJs ability to create a great mix so don't get me wrong. But it is always important to be learning new things. If you take Djing seriously, and if you treat it as a career, then you should be in the mindset that Djing is amazing because it is an expression of art and music. So keep testing your musical mind with new styles, genres, and mixing types, you really have nothing to lose. Even if you practice with some of these techniques at home and never bring them to the club, you may view the music you had been playing before differently. So go ahead and experiment and tell me in the comments section if this helped at all. Cheers Guys!
If you've played in a club and ever encountered a promoter or two you know that often times the interactions can be messy. As a DJ you want to play your set, steal the crowd and walk away with a smile on your face feeling fulfilled. The promoter wants momey. Often times these two ways of perceiving a perfomance can cause conflict. A promoter is given the task of making sure everything that can go right in the club will. And with a large amount of pressure on their back they will be repremanded if everything doesn't. But regardless promoters and DJs have to coexist so I am going to outline some tactics in an attempt to help you stay out of the promoters hair and keep them out of yours.
DO NOT MAKE THINGS THAT DO NOT NEED TO BE COMPLICATED: COMPLICATED. Examples are asking endless questions about drink tabs, guest lists, asking about setup/ breakdown and whether you'll be on the bill for promotion. Its important to realize that these guys do this every weekend and they know how to make them go smoothly. Often asking too many questions can make them feel unsure about your knowledge of the club scene and or club you are playing in as well as creating problems that may not even arise. If the promoter has personally picked you to play or you are friends this rule may not apply but whats important is that they feel that you are sure of what is going on. They'll tell you everything you need to know.
DO NOT ASK THEM WHAT MUSIC YOU SHOULD PLAY: This is especially important if you got a hook up through a friend. Go to the club before the gig and check it out. First off if you don't know what kind of music they play at the club you will play at, you shouldn't play there. Secondly if the promoter has a problem with the music you are playing they will probably put on the next dj whos on the bill. If you don't believe this can happen look at this video of DJ Shadow being kicked off stage by a promoter. Figure it out for yourself or visit the club.
BE ON TIME: This may seem obvious but I've seen DJs show up 5 minutes before their gig when they were supposed to be there an hour before. Whether its sitting down to talk, going to play your set, or going to collect your money. Dont Be Late! Not only does it reflect poorly on you, but you also will lose big points that go towards being able to play the next gig. No matter how good you are don't make people wait for you. The promoters have tight schedules and it makes it easier for everybody. (Good article below on time management for dj's from DJTechTools)
HAVE EVERYTHING READY: Dont show up at the club with your laptop expecting to update your rekordbox, traktor, controller, playlist or anything. Make sure you have every cable you need, every connection, adapter, headphones, usb sticks whatever. They won't cater to you. This is something you can ask the promoter about, cables. If you have a specific setup, try to twine usb cables together to get organized, have your laptop stand ready, backup all of your music on usbs and cds, and have backup cables and connectors.
DONT EXPECT CATERING: Whether its a free drink or being able to bring your traktor s4 controller, dont expect the club to cater to you... the one dj who doesnt know how to do something. Find out what kind of equipment they have and prepare to use theirs. If you need to go to guitarcenter to practice on a pair of cdjs and a pioneer mixer then do it! Having expectations for catering makes you look self indulged and the promoter doesnt have the time in a night to deal with minute problems.
DO BE FRIENDLY NO MATTER WHAT: The promoter may be screaming at you but you have to keep your cool. They have a lot more on the line than you so don't take it personally, just keep being polite and responding to all requests. A smile can mean everything in the business. So if you wanna play again, smile and wave ;)
BE WILLING TO CHANGE: Often sets go too long or the last DJ is super drunk. and cant play. Dont blame the promoter if he cuts your set short or asks you to play another half an hour. Prepare fpr these situations and have them in place. Make set up and break down quick so that if something like this happens you can end your set at a moments notice. Prepare an emergency set in case for genres in case you play longer!
CONCLUSION
These are the most important points I can think of, though not all of them. Keep your head up and stay open minded. These are the keys to avoiding conflict. Remember this is your profession and with everything there are obstacles. So dont get down when your set gets called off or they decide to end your set early. Its all part of the grand scheme of a club. You have to sacrifice some things to gain others. In addition these shouldn't scare you, I have met a fair amount of nice guys who have gone above and beyond to make my night great. Hope you enjoyed reading! Cheers
Beatport's top ten list nowadays is a go to for many DJs around the world as well as lovers of EDM and club music. The list is full of electro, big room and trap tracks. So you may be asking why should I listen to techno? Well first off all of the styles that exist today in EDM hold some aspects of techno. Whether its the 909 ride in Martin Garrix Animals, the detuned saws, repetitive chorus or loud, hard hitting claps they all feed off of original sources from techno. In any subject of study, you always learn the history of the subject before studying it, and DJing is no exception. If not just to have personal interest in the music you are listening to, the history of techniques and implementations of these techniques will overall improve your Djing.
A great example is Frankie Knuckles (I mentioned him in my last post) He created house music by using a 909 drum machine and looping sections of acapellas he liked (Even though this is house, it explains how looping came into effect in dance music, and how the basics of EDM came about) Along with house came techno from the dark corners of Detroit where Basement parties and Warehouse parties ruled. Shortly after the wall came down the sound moved to Berlin and instantly caught on. The Housey hi hats become darker and the bass drums ran through hard effects and soon Berlin became the capital of Techno. This is of course not the whole story, but one thing led to another, styles expanded, even modern day techno is far from where it began. But i digress. So Techno is one of the birthplaces of many genres of EDM. (underneath are some interesting articles from DJ Tech Tools about cool Documentaries, many about production style and the birth of some genres definitely check it out.)
Secondly Techno teaches you how to mix music that doesn't necessarily have the Intro-Break-Build-Drop/Chorus-Break-Beat-Build-Drop-Outro-End Organization. When you have this layout you can fall into the habit of mixing Builds into drops, drops into breaks, outro into intro. Recently the pattern of EDM mixes has gone to Intro- Break- Build- Drop-Drop-Drop-Drop-Etc. It's getting a little boring. For me, mixing techno has taught me to appreciate the fullness of a great loop, the ability to mix off key, that drops aren't everything and that sometimes simple mixes are the best. I can now look at my old music and see these aspects, and I believe that this has made me a better DJ.
Example of a Drop Build Drop-Drop- Quick Transitions Mix that you see at most EDM festivals nowadays
Example of Berlin Techno mix (Long transitions, loops, FX use and versatile music choice)
Playing Techno has also taught me the importance of Music selection for your mix. Due to length and often interesting transitions/ chord progressions/ breaks/ Techno often requires more than one listen to really feel a track. Often with recent electro tracks you can listen to a 45 second sample (Not for all) and you know what the rest sounds like. This doesn't work for me with techno, it is important that everything fits into a techno mix, it is almost crafted like bread. Leave bread to rise too long and it will be too airy, and take it too soon and it's chewy. Leave a song to play for too long and it could become boring and take it away too early and you lose some vibe. I find that with techno I want to find where the mix fits perfectly and for myself I would never know if someone has mixed at that point with that exact track, I can not say this with most EDM songs. So I have learned to pick music that will fit in it's place in a mix. Intro's and outgo's are vital now! And hi hats are my favorite friends :D
The last important part of mixing/listening to techno for me is the realization that you can move a room with "basic materials" Simple is often mistaken for bad as far as music goes. I used to say things like "yeah I hate it because I could probably make it in a few minutes" But music shouldn't be based on complexity it should be based on your ability to enjoy it. Learning to mix with "Basic Materials" will teach you that a repeating snare (As seen in the video above) can be as powerful as a drop if used correctly. Don't be fooled thinking it is basic, it is not when you have the tools in your hands. If you learn to appreciate music for its simplest elements, you will be able to better appreciate it as a whole. Try to listen to individual aspects of techno, is there a little hi hat in the background that completes the mix, is that a repeating arpeggiated detuned saw echoing in the background? You can often listen to a techno song in different speakers and each time you will hear a different element you never noticed before.
Life in Berlin would be incomplete without techno. It has moved many. Don't underestimate its powers, and give it a chance (if you haven't already) and learn to appreciate it for everything it has and I guarantee you it will change you in one way or another! Underneath are some recent techno tracks I love. All have their unique elements so try to distinguish the differences and tell me if you liked them, if so I'll keep posting more of my favorites of the week. Cheers!
Mi Mujer: Nicholas Jaar (Great laidback vibe!)
November Rain: Matthias Meyer (Mario Basanov Remix)
Stars Under Construction: Firewalker (Oldie But Goodie!)
Berlin has some of the best clubs in the world, Berghain, Watergate (perhaps it's changing) and Tresor have held strong in the top lists. With such a title, Berlin clubs are naturally hard to get into, expensive and have varying types of people. This may lead to to believe that clubbers in Berlin will stay at a club all night, but music is important here. People don't go to clubs to see a scene, they go for the music. So one of the difficulties in DJing here is keeping a crowd interested.
First off, it is often house or techno (in most clubs) in Berlin, this is the way it has formed and because of that many clubbers have their pick. I've often seen DJs try to keep both crowds, often unsuccessfully. So stick to what you like, if you have a more house vibe take a shot at it, just because people aren't dancing now doesn't mean they won't be in ten minutes.
Pick music you like, because that is what you will play best! With modern day technology it is so easy to download a track and play it 5 minutes later in the club. But I'll be one to say that this doesn't mean you should. Though having new music doesn't hurt, you definitely shouldn't be playing tracks you don't know. DJs used to spend hours preparing sets and picking vinyl for the next show, don't be scared to play some old stuff (Frankie Knuckles had a revival)
That leads me to my next point, if you are a DJ who plans their sets down to the second, try to see how the crowd reacts and maybe vary from the playlist, it is great to be secure, but often the best outcomes are from unexpected mixtures. Richie Hawtin is a good example of this, he often plans sets but adds loops on the fly, he can keep things organized but also push something if it is working. Other DJ's vary their sets by adding FX (Maceo Plex), creating unique loops with material they already have (Bakermat), and put acapellas on top of their sets (Felix Da Housecat).
With laptops, you often walk into a club and find a DJ deep in his screen. It is overplayed in the DJ community, but if you don't look like you're trying to read a crowd, they notice. Look up once in a while, see what catches people's attention. Though in certain situations you are forced to play genre based music you can tell what a crowd likes by their reaction. Does the crowd like breaks? (common thing in Berlin) On the contrary, should you be playing less breaks? When you upped the tempo did people like it? Is it the "drop" that people love? Try to find what works and stick with it. Even if a dance floor is empty, are you doing your best? If you're really playing your best music and it's just not what people are digging sometimes you just gotta keep going with it and try to build a crowd. If you're transitioning from the last DJ sometimes you will attract a new crowd! If you're trying a new sound or vibe, it may take a while for people to get used to what you're spinning, but don't give up your integrity. Rock, Punk, Ambient, EDM, Dubstep, were all hated before they became popular so try try and try again.
It is sometimes hard to find a balance between what you like and what the crowd likes, but you definitely shouldn't sacrifice your own interest for the crowd. (Forewarning, in situations where you are put in a club that is genre based, you shouldn't play just because it's an opportunity to DJ, sometimes the DJ isn't a match for the club) Meet them in the middle. Maybe hit them with something they know and mix it with something new. In Berlin DJs are often posed with a situation where they are playing a mixed party, aside from resident DJs people here often play at parties or events, this usually creates a mixed crowd and mixed batch of DJS. For this reason, DJS at these parties bring a mix of music, it is not strictly house, techno, tech house, they pick music they like from a few genres, make playlist, and if something isn't working they move to a new genre. This is a good way to organize for a mixed crowd! After a while you will build a crowd, and people will come to see you because they like your mix, part of building a crowd is using these playlists to create unique mixes.
One last thing that is definitely worth noting is that you shouldn't be expected to know what everyone wants. Everyone likes something different, find your niche and stick to it, you'll have more fun anyway. Just played a cool set last night and got to play some tunes I really liked and even though I was the last set I had 7 people dancing really hard and the promoter was digging it, so don't mistake quantity for quality. EDM is becoming very commercialized and everything is becoming synonymous, try to be a DJ who changes it. Examples are Disclosure, Flux Pavilion, Nicholas Jaar, Shadow Child. Disclosure is turning Deep House popular, Flux Pavilion added the squeaky dub step, Nicholas Jaar started a live set revolution with his album Darkside and Shadow Child is mixing Techno and Deep House. Hope I informed you a little bit about crowds in Berlin and crowds in general. Take this with you to the next gig you do, or come to Berlin and try it out!
Amongst the rubble in Kreuzberg lies a club by the name of Club Der Visionaere. Known by most clubbers in Berlin, Club Der Visionaere is a unique open air venue at the foot of alt Treptow. I visited the last two weekends and figured I had to give my two sense about it. The club has a great chill out vibe, and music to follow. But to some clubbers who seek "The Berlin Experience" it may not be quite what you expect. You enter the club through literal hole in the wall, and walk out onto a dock which is usually super crowded. The first thing I noticed when walking in the door was... English. This isn't quite a Berlin crowd. Though it may be harsh, I have to say when you enter a club in Berlin and you hear a majority english, you can assume that 95% will be tourists. Though I have had great nights with other English speakers there is a clear difference between clubbing with Berliners and Auslanders.
From my experience those in Berlin appreciate the music rather than the scene. Though I'm not saying the notorious Berlin hipster isn't doing everything in their effort to try to be seen, I am saying that they know their music, they know what they like, and they won't just walk into a club to see the people, unlike tourists. When you search for clubs in Berlin Club Der Visionaere is up there in search results, so its really no surprise. But I digress. The first thing you see on your right is a little window, and within in it, two pioneer CDJS, Two technics and usually 2/3 intoxicated DJs, on your left the Canal, in the middle clabbers and further up, the bar. I have to say, the layout really is something, you feel connected to DJs, Bartenders and Clubbers the whole time you are there. I made my way past the DJS, Clubbers and to the bar to order drinks. Though the bar is pretty crowded, the service is super fast, and actually, not so expensive. Some of the bartenders are really dickish though, so don't expect any more. My friends and I ordered 3 pfeffis, drank them, and continued with long drinks, and headed for the dock.
The dock is a unique idea for a dance floor, but the sound system is lacking. I really enjoyed watching people talk, and hearing different accents all whilst meeting new people and having a good dance. Which brings me to the downside of tourists, they often don't like the music so they don't dance. This was a problem the first time we went, the only place where you really have people dancing is the indoors section next to the bar, and it is packed. So you get a weird mix of people shooting weird looks at each other, those who have never seen the Berlin Clubs. And those who are dancing. This is something to think about if you are interested in going. But for me, I was waiting the first night to see the sunrise. So despite the weird crowd we danced, and towards the end the mix was really solid and we were dancing pretty hard.
And then the sun began to peak over the spree and we couldn't resist. Although it was a cold morning, we had to be there for the sunrise. So we sat and chatted with some other english speakers and took in the fact that we were sitting on the river, in a club, at 5 in the morning, seeing a beautiful sight. That in itself is worth a visit. People began to filter out in the later hours. The only downside to seeing the sun is it gives you an idea of what time it really is, as opposed to a dark club where you can lose track of time and end up walking home at 2pm. It does take a toll on your brain. Unfortunately, I had to go home early, so I didn't stay past 6. But I enjoyed my time. . On my walk home I thought about the night and the place and came to the conclusion that Club Der Visionaere is great for what it is. Though the sound system was lacking and the crowd was nicht so gut, the night ended up being full of fun conversations and I got to listen to some music I wouldn't normally listen to.
If I had to rate it I'd probably give it a 3.5 out of 5. In addition I recommend going on a saturday, Friday was not as full and the empty space added to the akward no dancing thing. Ok more clubs to come! (I forgot to add+1 for DJs spinning actual vinyl even though CDJS were there, that's something I haven't seen so far in Berlin)
So I've been in Berlin since September and have now officially thrown 2 parties. The first Howl party was at Haus Am See Cosmic Kaspar and the second at cookies. I have learned much about Berlin in the last few months especially the nightlife and I thought I'd share my experiences. I asked myself the question when I came here "Why vinyl?" In other western cities vinyl or records would be regarded as old trash where as here the spirit of vinyl lives on, so why? Well I think it has a lot to do with German culture as well as the history of Berlin. Germans tend to keep old habits and reject others that exist. It is slowly changing as Americanization and a fast paced life are becoming the norm. But in Berlin people seem to hold on to the idea of habitual behavior. If it isn't broken why fix it? The popular opinion on vinyl is it is a space problem, it requires a turntable, and for DJS, it doesn't make sense when moving around. But in the past months I have been buying vinyl. There is something special about going to the store and taking time to listen to the track, thinking how it could fit into your mix. And you have something physical as well. It is not just an mp3 on your computer. I got bored of trying to find tracks online, endlessly searching for blogs, links, groups, with records you have a definitive place to go, there is an atmosphere and it's nice. It's been an interesting, difficult, expensive transition, but in a way its made me think more about the music I chose to play and the time I put into my sets. Next up, "Why is Berlin being voted one of the top places for artists to live?" My answer is this: The people who live in Berlin stay in Berlin, and those people who moved here before or shortly after the wall came down came here to start fresh. Think of Berlin in the 90's like San Francisco on steroids. Weirdos, Creeps, Painters, Designers, Poets, Writers, people with ideas, came here to express themselves. And they loved it so they never left. When you walk into a store the owner is usually there, if you talk to them they love what they do and they admire it when you show interest. So the artists who live here have never forgotten their beginnings, they remember Berlin in the 90's and they remember what it was like to struggle, so often times they want to help or offer advice. "Is it really a party every night" For most people no... but if you want to there is truly something going on 24/7 7 days a week in Berlin. Just today at about 4 o clock in the afternoon on a monday I saw one guy dancing on the dock of Club Der Visionaere, a popular berlin outdoor hang out club bar. So if you want to spend a week in Berlin, you could party all 7 days. "Do people look down upon outsiders?" Berliners are known for giving a cold shoulder to outsiders. To be honest the average person probably does not want to tell you where the U-bahn station is and the technical engineer definitely doesn't give a shit that you know what you're doing. People here are straight, they don't deal with bullshit. So if you don't give them a reason to be pissed off then they won't. For outsiders this can be a big shocker," how could my waitress not come over to me when I call her right away?" Well frankly people here just don't care about comfort or friendliness, they get everything done in the time they want to and should. "Is Berghain really that great?" Well I don't have much to say regarding Berghain it is basically a hype factory for innocent 20 something year olds trying to make themselves noticed, but I haven't been so I can't give details. All I'll say is Berlin has a strict if you don't fit in then you leave policy. So Berghain is basically the poster child for that. In my opinion you can spend an hour waiting in line on the off chance that you get in, or you could go to one of the many other great techno clubs with great resident DJs and for the average clubber you will have an equally enthralling experience. I guess the controversy of Berghain will exist until the place closes. One of my favorite spectacles is a block away from Berghain, in clear graffiti hand style it reads "Fuck Berghain" I guarantee the person who wrote that didn't get into Berghain. "Can anyone DJ in Berlin?" Well I'm tossed up about this one. It does take a certain persistence to make it in the Berlin Club scene here, but with the right friends you could probably play a set at a decent club. If you're really interested in playing in Berlin you should definitely work on your productions. Your mix will sound twice as good if there are good tracks to back it up. I guess this is true of most DJs nowadays. You definitely have to learn to love every type of music if you plan to DJ here. People are starting to get bored with 4/4 mind numbing techno, so if you have a great mix and you're doing something new, you probably have a better chance. In addition you have to recognize that some of the best music isn't always at your fingertips. Dj's who play Beatport top hits aren't going to make it here. People come for the music so they want to hear something unique. So if you drop a 90's house tune that everybody loves in the middle of the set and throw them for a spin, you will probably be remembered for that. It is the little things that matter. The way you faded xyz track out or the delay you are using on a track is what people love. There is no tolerance for a crappy unhyped mix. I have seen people lose a whole crowd in a matter of seconds with the wrong track. So you need to learn your art to perfection. These are the questions I will answer for now, I'll keep updating the Blog in the next weeks and I'll definitely tell you how the next party goes. Stay tuned! Cheers.
