Catch up thoseTama Sumo sessions into NTS Studio - Live from Berlin
Source: NTS Radio
Catch up thoseTama Sumo sessions into NTS Studio - Live from Berlin
Source: NTS Radio
Berlin techno producer Shed made a live soundtrack for the silent horror classic “Nosferatu” from 1922 by Friedrich Wilhelm Murnau.
Recorded at UT Connewitz, Leipzig, 28th NOV, 2013.All music by Shed/R. Pawlowitz.
— source : www.xlr8r.com
Words: Shawn Reynaldo
Over the years, many artists have been tagged as shape-shifters, but few have taken it as far as Rene Pawlowitz. Known primarily as Shed, the German producer has been blurring the lines between techno, house, and dubby exploration for nearly a decade. On July 27, he’ll be offering up his third full-length album as Shed, The Killer, via Modeselektor’s 50 Weapons imprint, but that hasn’t stopped Pawlowitz from continuing to release music under a variety of aliases, something he’s done throughout much of his career. Curious about the motives behind all these pseudonyms, we recently sat down with the reclusive artist and asked him to break down his various personas in his own words.
It’s the main artist name, probably because it’s the first one. I don’t know why I chose this name. It’s kind of funny, but it’s okay now for me. It comes from Shedding the Past, the first album. It was a model for me, to leave the past behind me. That’s why it’s Shed
There are no releases with my real name. [Some of my tracks are listed on Discogs] as “produced by” my real name, but it’s not an artist name or a name for a project or something.
There was a record two years ago, the first one. It was actually just [a vehicle for] making good old music from the ’90s, banging house music. That’s why the name of the label is Power House. At Hard Wax, I was talking with DJ Pete about early-’90s techno with a powerful bass drum, [people like] DJ Duke from New York, or a lot of records from the Netherlands from this time. We always called it “power house.” I thought, “I have to do it—power house.” Why I chose the name Head High, I don’t know.
There is no difference between Head High and WK7. For the second record, I chose another name. I don’t know, just to make something new so people don’t just think it’s another Head High record. WK7 was a district in Schwedt, a city I lived in during the ’90s. In Eastern Germany, WK is for wohnkomplex, which means “living district.” So it was Living District Number 7.
That was actually just the abbreviation for Shedding the Past. I think there was only one record [with that name], The Fall EP. I made this new sub-label for Soloaction, Subsolo, so that’s why I thought I needed to do another alias. There was no reason, as always.
It was in 2007, and the first [EQD] record sold really well for me. Too well, because I didn’t think anyone would be into this music that much. It was hand-stamped and kind of mysterious, and it was fun, because nobody knew who it was. It was more fun than doing a record as Shed, because everyone knew [those records were made by] me. EQD was something special for me, and it was very exciting. Half a year later came Wax. [I made a plan:] on Christmas I would do an EQD record, and in summer a Wax record. Now, I’ve stopped EQD. I think I stopped, I’m not really sure. I made this CD, Equalized #111, and I think it’s a good end.
Wax was more for raw, very simple house tracks for the dancefloor. Just for making good music for DJing. There was no trying to do something new or whatever, it was just making raw beats for the floor. In the end, Wax is more house music, and EQD was techno. I didn’t choose each alias for a different style. There was no plan, it just ended up that way.
The Panamax Project
That is my worst-selling record. I had changed my distribution, I was going through ST Holdings in the UK. I thought, “This is really cool, I’m at the right point for this kind of music,” but it wasn’t. I don’t know why, I like it a lot. It’s my view of dubstep or a bit of UK garage or UK bass music. But it wasn’t going very well, so I decided to stop it before I do another one. Maybe later.
I made a very quick decision to release a 12” on Ostgut Ton. There was another artist who was late with their music for this [particular release] slot. I was sending Nick [Höppner, the label manager,] some files that I thought would be good for Ostgut, and he said, “[They are good], and we can do [the record] now.” With the [next] Shed LP coming out on 50 Weapons only four months later, I thought it wouldn’t be cool to have a Shed record on Ostgut Ton. I wanted to have a cut between these two things, and that’s why [I released it as] The Traveller. I’m not sure if there’s going to be anything else [under this name]. I don’t think so.
I know some more, but you don’t. [laughs] Maybe people do know, I’m not sure. I won’t talk about it. It’s nothing special. There are some more. Maybe two, three.
Words: Tama Sumo
When Kerstin Egert, better known as her production alias Tama Sumo, released her mix compilation for Panorama Bar in 2009, it was clear that with over two decades experiences, her sounds as a DJ spark and lie in her ability to deliver striking and consistent musical moments in precision, effortlessly providing the crowd a cross-genred selection and fully bringing to life the essence of a dancefloor. Indeed, the Berlin-based artist, who is one of the most respected figures in the local music scene, has been DJing since early 90s, and has landed residencies at some of the most well-known and legendary clubs like Tresor and the old Ostgut. She plays regularly at Berghain and currently has a residency at Panorama Bar. Having been a returning guest at the now defunct Süd Electronic series of clubnight, she has now officially joined the Süd family and became a label co-owner alongside Lakuti and Portable. Here, Kerstin explained 10 tracks close to her.
Shed is a man of action, a living example how to reinvent oneself again and again within the boundaries of electronic music. At the same time, Shed does not follow shallow trends. The Berlin-based producer firmly believes in the power of techno music. When techno was invented, Shed was not present. Born in 1975 in Frankfurt/Oder in the former GDR, he was simply too young. And also too far away from where techno was happening. As it turns out, being afar from epicentres like Berlin or Frankfurt/Main, was a blessing. Listening to the radio, Shed could absorb all kinds of music, styles and genres without being aware of the music’s point of origin, the fighting and the bitching between various cities, crews and labels. Music is music. This is not only still true, but was at the time the most famous quote from Monika Dietl. She was the first DJ who played techno on the radio in Berlin. Like no one else, she was in this for new music only and perfectly ignored the past. She did not play cheesy disco classics, but focused on new tunes from Chicago and Detroit, celebrated local scenes like the Netherlands and, most importantly, played music from the UK. Shed was hooked instantly.
“To call me a techno-visionary is not just exaggerated, it’s plainly wrong. My so-called visions just come from visions other people had twenty years ago. (…) I think it is very difficult to have new visions (these days).”
…I started out in a bar called Drama in Kreuzberg, which has been an important hang out for the scene and one of the first bars ever to feature its own djs at the weekend. The Drama has been one of the few locations featuring house music, instead of techno dominating all the other clubs and bars at that time.
I used to play a lot of soulful vocal house and quickly became a resident at Globus/Tresor, as well as at the gay Saturdays at Café Moskau.
My motivation is and has been a mixture of fun and communication. Verbally as well as non-verbally. I love to create and play with different moods and atmospheres. Im still fascinated by the fact that music can release a huge amount of energy and how music creates fun, jollying anyone along without any reason or principle. Music and bass in particular make people happy!
Since 1997, when I have been a resident at Globus/Tresor, I gradually opened up stylistically and didnt feel the need anymore to go along the lines of the techno and house division.
Since 2001 I regularly played at the gay/lesbian Dance with the Aliens parties at the old OstGut and consequently at the end of 2004 I became a resident at the new Panorama Bar and later at Berghain.
In the meantime I developed a varied style ranging from new and classic House to Techno with and a pinch of Acid, Electro and sometimes (Italo-)Disco. Altogether in my sets i want to display a
lot of bass with an optimistic swing and melody.
It is fundamental to my work as a dj that I manage to let the music, the crowd and myself run freely. I have to turn off my head and go with the flow. This always is the challenge and if it works it is big fun. Me and my crowd have to get cosy with each other.
And if I manage to build my set up and down, to go to lots of different places, it is perfect!
Panorama bar 02 // http://ostgut.de/label/record/41
Rebel / Warehouse
saturday — OCT 18th
"How do you know who is the officer in the lifeboat? The one with the gun."
SHED [50 weapon]
TAMA SUMO [Ostgut]
Zerø [Rebel Rebel]
Dato che, fondamentalmente, degli antipasti ce ne frega spesso molto poco, il Rebel, per il secondo appuntamento indoor stagionale, decide giustamente di puntare tutto su un dai-e-vai di primi e secondi, entrambe molto aggressivi. Inoltre, essendoci di mezzo la grande terra tedesca, direi che siamo a cavallo. In ordine: Shed, a smanettare con sequencer in un live set che si annuncia, anche se solo fosse un decimo bello di quello che vidi due anni fa, una bomba; poi miss Tama Sumo direttamente dal Panorama Bar a impanare house come una vera tedesca che si rispetti. L’Oktoberfest è qui. Deutschland über alles, über alles in der Welt.
— quotes: Zero.eu