Berghain 07: Part 2

People who like Berghain 07: Part 2 also listen to Jay Denham, DJ T-1000, Oliver Ho, Cisco Ferreira, Recyver Dogs, DJ T1000, Echoplex, Organ Grinda, Jamie Bissmire, Fanon Flowers.

Ostgut Ton released Berghain 07: Part 2 on Wed May 13 2015. The 4 track Techno release features Cassegrain, Dvs1, Inland, Steve Bicknell, and Tin Man. **Ostgut Ton** has also released vinyl by [Altinbas](/artist/altinbas), [Justine Perry](/artist/justine-perry), [Paula Koski](/artist/paula-koski), [Inox Traxx](/artist/inox-traxx), and [Planetary Assault Systems](/artist/planetary-assault-systems). Browse the [Ostgut Ton catalogue](/label/ostgut-ton). People who like Berghain 07: Part 2 also listen to Jay Denham, DJ T-1000, Oliver Ho, Cisco Ferreira, Recyver Dogs, DJ T1000, Echoplex, Organ Grinda, Jamie Bissmire, Fanon Flowers.

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Etapp Kyle

Samuli Kemppi

Cassegrain

DVS1’s status as one of the world’s most revered DJs and prominent voices in the preservation of true club culture is built upon an all-encompassing love of music, deep respect for his craft, and experiences in the ‘90s midwest rave scene. His sets, powerful and high-energy affairs, honor these roots while evidencing a versatility, sensitivity, and understanding for making people dance that comes only with years of commitment in pushing the boundaries of sound at the most renowned clubbing institutions, among them Berghain/Panorama Bar, where he’s one of few residents capable of working both floors. Whether he’s spinning a rare house set or racing, straight techno to pitch black rooms, the DVS1 experience is unforgettable. Khutoretsky’s story begins in Minneapolis, his family’s adopted home having emigrated from St. Petersburg. A rebellious adolescent, he immersed himself in rave culture, throwing parties with massive sound systems, starting his own club, and sourcing music, the foundation of a collection that now exceeds 30,000 records. DVS1 gained localized notoriety as a promoter and DJ, but it took a pair of 12-inches on Klockworks and Transmat before his name transcended the scene that his legendary DIY parties had ignited. The focal point of this operation was HUSH, a promotion and sound system outfit that now encompasses a label which in 2016 celebrated its 20th anniversary with HUSH20, a rare but typically sharp production outing from DVS1 himself with a focus on the kind of refined and purist techno he contributed to the Ostgut Ton Zehn compilation and exhibits through his Fabric 96 mix. Molded by these early experiences, and with a growing international reputation, Khutoretsky brought his midwest-shaped vision to Europe. Herein lies the inspiration for 'The Wall of Sound' – an experimental, continually evolving project that replaces the DJ at the front of the room with a stack of speakers whereby DVS1 offers a sociologic experience in the nightlife context that is more than just a party format. Since its first installment in 2015, the likes of Jeff Mills, Oscar Mulero, Blawan and Helena Hauff have all ignited the Wall. Moreover, his Curates/Invites nights hark back to these early days by discarding set times and schedules; expect rare back-to-backs, long, drawn-out sets, and rich sonic eclecticism. DVS1's interests don’t stop at just being a DJ or conceptual artist pushing an aesthetic that carries the underground values he grew up on. He has also critically spoken out through interviews and publications sharing his opinions on the challenges and issues facing the electronic music community, notably through his essay about the battle between art and entertainment and the importance of no-camera policies. In October 2019, Khutoretsky launched S.O.S. (Support Organize Sustain), an independent initiative to promote community and artistry in electronic music through panels, presentations, roundtable discussions and more. Focusing on the foundational values of dance music culture, S.O.S. has a clear mission to provide an open platform for exchange while helping to push necessary changes in the coming years. DVS1 now divides all of his time between Minneapolis and Europe; wherein lies the Berlin-based project MONOM, a studio space he co-founded and with one of only two 4DSOUND setups, the world’s most advanced spatial sound instrument. His remaining hours are spent touring, purveying his favorite records and secret weapons, several of which have later appeared on Mistress Recordings, a HUSH sub-label for other artists that allows for a broader spectrum of aesthetics and reflects his wide-ranging musical tastes. Whether it’s label management, DJing, or producing, DVS1 is an artist who stays true to his past without ever losing sight of the future.

Dvs1

Inland

His career, spanning over 25+ years, has seen Steve grow from his early beginnings as a young promoter and resident DJ to one of the UK’s most established, accomplished and respected techno artists credited by many as a true pioneer. After earning his stripes with residencies at some of the UK’s most influential events such as Energy (Orbital raves), ID Magazine’s 1990 World Tour, The Wag Club, Solaris, The Brain, and The Zap Steve would go onto launch his own night LOST alongside Sheree Rashit. Since its induction to the present day LOST has stood as one of the UK’s most innovative and scene-defining events marking the debut performances from some of dance music’s most uncompromising and inventive creators. Aside from his huge success as a promoter Steve also produced under the name LOST between the years 1990-1992. He would then launch his own label Cosmic Records, also co-run with Rashit, and a new musical direction was found. From the first label three more imprints followed; LOST Recordings that focused solely on the sounds of LOST’s dancefloor, Clubtracks, specialising in more Chicago house-sounding productions, and ID(entity) created to release hidden aliases’ of well-established artists affiliated with the Cosmic label and LOST nights. When it comes to Steve Bicknell’s productions it’s no doubt he embodies the true essence of straight to the point, no-nonsense techno characteristics he fluidly translates into his DJ sets. Reflecting on Steve’s earliest work it is clear after stepping back from producing in the mid 2000’s he was still able to maintain the same relentless energy and curiosity yet honing and evolving it into something fresh and current upon his return in 2013. Equipped with neoteric ideas, in 2016 Steve launched his latest imprint 6dimensions. The label has played host to both his own and other influential artists productions. He describes the imprint as being “an exploration into balance and imbalance of the human mind’s natural make-up of love, fear, joy, hatred, boredom and sexuality”. Furthermore, in 2017 the techno supergroup LSD was formed alongside friends Luke Slater and David Sumner. Their debut release, “Process”, landed on Ostgut Ton which they described in their own words as ‘lysergic machine music’. Since then the trio has performed regularly with notable shows at the likes of ADE, Berghain and Dekmantel Festival to name a few. 2019 sees the trio returning with new releases and even more shows. With a compelling selection of new music coming out over the course of 2019 and his return to the road, Steve seems to be more relevant than ever before. With his second to none experience in promoting events, performing as a DJ to producing in the studio alone or with friends on top of his mission to continue to create, explore and experiment its looking like Steve Bicknell is unstoppable.

Steve Bicknell

Tin Man is an artist in the truest sense of the word. Over the last decade now the man born Johannes Auvinen has explored an ever evolving sound palette that touches on house, techno and ambient. Much like his namesake’s character in the Wizard of Oz, he has been on a mission to find his true self, except this Tin Man’s medium has been music. Most recently the California born producer and live act has been responsible for reinvigorating the acid scene with his unique and cerebral manipulations of real Roland 303s. His tracks have been laced with slow and subtly shifting patterns that are infused with a very real machine soul and exude captivating warmth. Taking influences from “Chicago and radio pop rock as well as melancholic UK electronics and Sahkö” Tin Man’s extensive discography also explores less sublime and seductive sounds on labels like Keys of Life and Acid Acid, and plenty of raw sonics on albums like Scared. He is also part of The Acid Symphony Orchestra (a live super group that features artists playing on ten 303, 707 and 808) and has turned out a standalone neo-classical and ambient work, Vienna Blue, which proves he does so much more than pure dancing music. “I started fiddling with music when I was in college,” he says. “I was collecting records, anything electronic; from ambient to techno to computer music. When I was out of school, and had steady work, I bought some gear and then tried imitating the music I liked with mixed results.” Before long though he found a sound that was truly his own and has continued to do so over and over again ever since. This modern acid master plays live on 303s, 707s and plenty more bits of hardware, always creating textured soundtracks on the flying using a range of FX and skills built up over the last decade. He never fails to make people dance to his beat whether he’s playing festivals in Japan, influential clubs in Europe or dirty back rooms across America and puts most similar acts to shame.

Berghain 07: Part 2

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