Posts Tagged ‘Berghain’

Paul Woolford – Planet E at Berghain / Vinyl-only / 4.3.2011

Monday, March 28th, 2011

It’s often hard to judge a “club” mix on it’s merits without the boundaries of the dancefloor. Especially when said floor is the hallowed turbine hall of Berghain. Paul Woolford continued his techno excursion with Carl Craig’s 20 years of Planet E tour featuring in a recent show at the revered Berlin institution.

Picked from a large and carefully chosen crate of vinyl, it’s a fine and joyous journey through techno and bass music which works perfectly well beyond the club. Wooly’s decision to use only records (in our view the most appropriate medium for electronic music) certainly gives the mix a certain je ne sais quoi and great artistic moments are often borne from self imposed restriction.

Hit “play” and enjoy Paul’s warm-up of sorts, joining the dots between the genuine Detroit sound and the European progeny it continues to spawn.

Paul Woolford – Profile
Berghain
Planet E

We Love Space 2020Vision Summer 2010 – Mixed by Ralph Lawson

Monday, June 7th, 2010

Perfect vision

As always we love to spread the love. This summer a free compilation album will be handed out to visitors in around our venue to showcase talent and tunes from the formidably enduring label 2020Vision. Based in Leeds, owned and operated by Ralph Lawson, his team of dedicated and genuine music lovers have shaped the imprint into one of the most respected house labels in the world. Since it’s inaugural pressing in 1995 the label has achieved it’s status of quality and consistency from the point of view of both artists and the record buying public alike. At We Love we are delighted to have not only a talent such as Ralph, with a label so prestigious as 2020Vision at our disposal to compile this compilation – but also from a promotional point of view being able to provide you, our patrons, an objet d’art at no cost to yourselves is such a simple but effective way to give something back. As Mark says: “Simply the best promotional tool we have used in years, a back page advert in popular monthly music press is around £4000 and 10,000 fully finished CDs costs around £3500 delivered. Do the math.”

Ralph will be playing for We Love on the renowned Space Terrace in Ibiza on June 20th, July 25th and September 12th. There will also be a special appearance from Ralph’s live project when he will roll into Space along with Danny Ward, Fernando Pulichino and Julian Sanza in the form of 2020Soundsystem on the 22nd of August. Their album Falling released last year struck the demanding task of a cross-over electronic album being a clear picture, a representation of the artists involved, a “thing-in-itself” and balancing that with enough dancey, trackey elements for the underground to fall in love with it. We’ll leave it to Ralph to explain how the We Love 2020Vision mix came about and his thought process behind the selection…

“The label mix album came about as an idea from Mark Broadbent from We Love last year with the first one featuring Steve Lawler and Viva. It worked out well for everyone as it profiles the DJ who mixes, their label and also provides clubbers with a soundtrack to their night at Space as a present. I have worked for We Love for many years but in the last couple of years it has really started to click for me on the Terrace. I think firstly there was a move towards my style of House music in recent years and secondly I have enough experience under my belt now to know how to play it and get it going off. It is always a high pressure gig playing at We Love and it takes quite a few attempts to learn how to do it right.


Label compilations are very very hard mixes to do. For a start there are fewer tracks to choose from on a normal mix and also you have to represent as many of your artists as possible which further tightens the selection. Then they have to be put together into a smooth flowing mix! Not an easy challenge. I also wanted it to be as fresh as possible so I chased up producers for exclusive up front material. I also had the idea to include a couple of my favourite remixes from Blaze and Layo & Bushwacka so I had to ask permission for those. As 2020Vision is all about having ‘perfect vision’ we include many styles on the label and I needed to highlight this. The CD starts with Nu Disco from 2020Soundsystem and Crazy P which is actually much slower than House so I worked in tempo changes. It then picks up the pace into House and some more techier moments before leaving people with ‘Lovelee Dae’ by Blaze as a kind of happy last tune to go home on.


That was from the label perspective. I also needed to keep an eye on what works for We Love so I had a rule that all the tracks had to be playable at Space on Sundays. I picked a couple from the last year or so that were big for me on the Terrace last year such as Art Of Tones – Call The Shots and Mark Broom – People. Then I included ones I know I will be busting this year that aren’t out yet like Audiojack – Motion Sickness and Simon Baker – The Trick. I Imagined arriving at Space and heading upstairs to the top floor for a drink on the roof before where I could hear a tracks like ‘Ocean’ and then ‘Love on the line’ before heading down to the covered Terrace as the House starts to thump. A big turning point in the mix is the Radioslave track which is an epic production under his Panorama Garage moniker. As I was mixing the album I visited Berlin with Mark and Sarah Broadbent and we went to Panorama and Berghain. As luck would have it Matt Edwards (Radioslave) delivered his track for the album as I came back to the hotel and I put it straight on the headphones in my hotel room. After a night at the infamous club it totally hit the spot and I listened to it about 5 times in a row enjoying it more each time. Of course it had to go the CD and it marks the moment at a night at Space when the crowd is now ready to go and needs the beats tougher. The strings give a classic feel to the mix and really stand out.


I have a rule that I have to DJ my mixes live. I just feel they are more spontaneous and have a more natural feel that way. I can always tell when they have been pieced together one track at a time. I used Traktor Scratch pro to try mixes and then used Ableton on an Allen and Heath 4D to do the final mix but on the jam page so I could still DJ it. I did it like that so I could edit afterwards. It was recorded at 2020HQ in Leeds.” Ralph Lawson

Door Policy

Wednesday, November 18th, 2009
Get in

Get in

It is easy to dislike a place that only lets in the rich, but before we get too self-satisfied let’s remember that nightclubs have never been the most democratic of institutions. The domains of cliques and gangs, they tread a fine line between the two meanings of the verb ‘to discriminate’. Trying to keep out those who aren’t regulars, don’t wear the right clothes, don’t get the music or take the right drugs even if done with the best of intentions – creating an exciting other space for freaks and their friends – still tips easily into exclusivity. Even the biggest, most seemingly democratic places contain velvet ropes, backrooms, inner-sanctums, huts and caravans for workers, owners, friends and random people who think that to be there means to be somehow special. Élitism, even if it’s only against those who don’t possess the right subcultural capital, is still an -ism (if not one of the really nasty kinds).Ewan Pearson

The subject off door policy within nightclubs has reared it’s high-and-mighty head lately. From the basement sweatboxes and grungy warehouses to pulsing castles with palatial interiors, almost every club will have a policy of some sorts. Decisions on which clientele to admit or reject rest largely with the door staff, although the code and system (if any) is generally devised by the management. It can be a hard thing to define – and easier to do so on who not to allow. For example, if The Social in Paris really is for “clueless, aggressive, Sarkozy loving, rayban wearing, coked up posh kids”, it would be hard for a club to define this custom with a notice on the door.

It is a self fulfilling prophecy that if a club is harder to get into, it becomes more desirable to try to do so. Take the infamously ironclad Berghain in Berlin for example. It is ridiculously hard for some people to get into, but is widely regarded as the best nightclub in the world. It might just be so that a policy on the door is not an absurd and clueless arbitrary decision made by steroid fueled meat-heads, but is in fact a necessary attitude in order to maintain the meaning of the “club”.

Open sesame

Open sesame

Some people revel in the unchallenging democracy of an open door policy, such as at Fabric in London. Where the door staff are unlikely to turn anyone away unless clearly inebriated and ask only that business men remove their ties. It’s understandable to have no interest in a venue with which the first interaction you have is to be judged by your style and manner. However, a door policy is what defines a club, creating it’s atmosphere along with the music and location. In essence, the policy establishes the crowd. Surely part of the reason you go to a nightclub is for the people who you will share the night and dancefloor with? Clubs which could easily fill the capacity twice over on any given night don’t because they care about maintaining a special atmosphere and a crowd that cares about the music being played.

With your market analyst head on, you can see that a strict door leads to a loyal clientele and a hand-picked demographic. Where there is a healthy scene clubs can afford to be fastidious. Ibiza is unique in its door style, having a historical reputation of wide admittance (and with the main clubs only open for four months per year) they generally welcome all and sundry. Venues that stretch into the thousands in capacity perhaps help to dilute the undesirables.

In any case, our top tips for getting in would be: Be yourself and treat your surroundings with respect. If you are in Perth, Australia: No Ed Hardy, or dyed rat tails.

Ewan Pearson

Fabric

Berghain

Australia National News