Don't Panic Berlin Archives

H as in Records is a Berlin-based label for music and fine arts. Originally founded as a consolidating platform for a group of artists who were already closely connected through their aesthetics and themes as well as close personal relationships, it organically evolved into a record label as well. We interviewed label founder Felix Müller aka Yule FM as well as Portland based Cole Baby and Lonely Boys as they came together in Berlin to put on two pretty rad label nights at Antje Öklesund and Madame Claude’s.

YuleFm Tell me about the concept of H as in Records…

Originally there was no real concept. I just wanted to gather some people who in my opinion are doing really good stuff and where I felt they in the furthest sense had  something ideological in common. I also thought that if we stick together we would probably have more attention than if we stayed solo. So the basic idea was the gathering. I call it a label although it is really noncommercial so far. Everybody who does something does it on his own and I am just trying to help as far as I can but mostly not financially. I don’t know where this will go. If it goes well I’m happy about it and if not, it was fun.

How would you describe your own music?

When I record I mostly start playing something or hit some buttons on the computer first and do everything else according to that. Eventually it’s a lot of tidying. So, I guess I’m rarely aware of what I’m doing or what the eventual music will sound like. I’m kinda having issues with genres and/or verbal descriptions of music in general so I can’t really say a lot about that.

But if I asked you for inspirations?

There are many musicians that I find very inspiring but if I’d name them now that would spoil the idea of not belonging to a genre. But I think I always have periods where I’m kind of manic about stuff astrology for instance or really cheesy tv series like Friends or The Cosby Show and somehow I feel that since I’m spending a lot of time with those things, that must be an influence.

Cole Baby

Musical or non musical biggest inspirations?

Give me 4 seconds to think about it. My favorite bands are Otis Redding, Bruce Springsteen and ODB. I really just wish that I could be a Soul singer but I can’t because I don’t have the voice for it so I have to make up for that with theatrics… Also I go to the tanning Salon and there is a very specific type of person that goes there. It’s very trashy and I really like that and the sort really tacky glam type of vibe, so that’s a big inspiration as well I guess – what’s the word – Campy. I like that a lot. John Waters big fan.

How do you figure performance in relation to your music? Does it have to be a part of it or can they exist separately?

I sort of consider it to be two pieces. When I record things its just me in my room and a lot of accidents happen to create the sounds. But the performance is sort of… I really like karaoke – it’s literally my favorite thing to do. My favorite way to spend my time, so the performance is sort of how I wish Karaoke could be every time I did it but still trying to adapt the things that I record in my very personal space.

Plans for the future?

Near future is the American tour with Felix and after that I don’t know. Right before I left to Europe I lost my job, so probably when I get back I’m going to look for a job or try to get my old one back. I would like to tour again in the fall and maybe then come back to Europe. And I also would like to tour with my other band. I’m a drummer in a punk band called the Skavenger Cunt and so i would like to tour with them as well..

Any specific story behind the “I don’t want to go to college again” song?

I feel like none of my goals can be reached through college although I am very happy that other people’s goals can be. Uhm. You don’t go to college to be a pop star and that’s what I want to be.

Lonely Boys

What inspires Lonely Boys?

R. Musically it’s hard to tell, as we both listen to a lot of different music and are always trying to find new stuff. Recently we fell in love with some vocaloid productions, but i don’t think that it found its way into our music.

F. Non-musical is easier to say. I watch a lot of tv series and often take quotes out them for the lyrics but it´s always connected to simple general observations I´m making or topics I’m dealing with at the moment… Such as girls.

And what does your creative process look like?

F. Our production process is very fluid. Since we don’t live in the same city one might think its not easy but to us it appears very easy.

R. When we are stuck we just send each other the stuff we are working on and the other one is completing it or taking it further. That works in both directions and makes it possible to still have a pretty integrated sound I guess.

What is your take on performance?

R. Weird, I don’t know. I think we’re just taking it easy and do what we can and try not to put on stuff or postures we don’t feel comfortable with.

F.  I don’t wanna go down easy for my audience. I especially enjoy concerts set in non music specific locations. Like one of our first gigs we ever played was sitting on a leather sofa as stage. Also I still enjoy the secretary style, sitting on a desk.

How would you describe your music?

R. I actually think one main focus in our music lies in the vocals. Even though our lyrics are often taken from somewhere else, in the end our music is something really personal, which translates especially through the vocals. Often we just repeat one sentence over the whole song and hence create a very emphasised and emotional mood through that, which can become pretty intense.

Our eighth mix comes courtesy of Berlin-based american-born DJ Lōtic. His fast, dirty, bass-heavy sets are anything but predictable, with elements as distinct as Trap, Baile Funk, Grime, Vogue House; in his own words “From streets all around the world… Anything with grit and dramatic subbass”. Lōtic is a producer himself with an academic musical training, which might explain his open-minded tastes and critical approach to the way he plays records. His productions can be found on his soundcloud, with work from last year’s EP #FEELINGS, which received a pretty nice review on Dummy.  Lōtic is a resident at one of Berlin’s most exciting new nights Janus, where you can catch his next set at Turbine (Glogauerstrasse 2) on 1st December alongside DJ Marfox. Also watch out for his single on Sci-Fi and Fantasy due for release on January 15th, and an EP due later next year on Dutty Artz.

This mix is entitled ‘Pictures Isn’t Necessary’, and is exactly the wake-up call we need for the weekend. We’ll leave you with a few words from the man himself:

“I primarily DJ for myself. I play what I want to hear in the way I’d want to hear it. And I’d much rather introduce people to something they maybe haven’t heard/heard of before instead of something they could read about on XLR8R.”

Tracklist:

1. Perched on a Oil Well, Stuntin in My Stillettoes (Pumps)

2. DJ Marfox: Artist Unknown

3. Lil Mouse: Doin Me

4. Jenny La Sexy Voz: No Lo Saques De Ahi

5. Plan B: Frikitona (DJ Ahmed Kamal Remix)

6. Suspendead

7. DJ Fofuxo D’Tok: Digital House

8. Divoli S’Vere: What I Want Ha

9. Kingdom: Wartime Ha

10. Chimbala: Ella Tato

11. Rogelio Sosa: Vinylika

12. DJ Earl: We Trippy Mane

13. DJ Earl: Get Up Hoe

14. Kentje’sz Beatsz: Party Night (Masterbeatzz SoundzZ Remix)

15. Chella H: Big & Fat

16. Dhinka Chika (DJ Saranga Advantage Mix)

Running from now until 3rd February, the theme of this year’s CTM festival is ‘The Golden Age’, continuing its annual endeavor to explore current patterns and emergences in the more “adventurous” sector of contemporary music. Following 2012′s somewhat eery approach, set against the idea of a ‘Spectral’ presence in music—with the rise of drag, with house and hauntology as cited inspirations—this new theme’s potential for optimism is fast undercut with the festival’s characteristically deconstructive approach. The theme is purposefully problematic: if a golden age implies a time of peace, harmony and consequential postitivism, CTM proposes the “diametrically opposed viewpoint that nothing but tension, intensity and friction is ever able to put a shine on its gold”.

Heady concepts aside, the lineup is as solid as ever. The packed programme is pretty overwhelming upon first glance so we’ve compiled a selection of things we’re particularly excited about by way of an unofficial guide (even if a lot of them do unfortunately overlap). In terms of a good audio guide we recommend CTM’s playlist of Red Bull Academy Radio podcasts featuring a selection of featured artists on their website. See their Facebook event page for full listings.

Rave Undead I HAU2 / 29.1.13 / 20.00 Rave Undead will be a two-part audiovisual exploration of the birth and recent resurrection of rave culture, complemented by the talk series ‘The Death of Rave‘. This first event will feature work by Turner Prize winner Mark Leckey, creator the brilliant now iconic 1999 video piece ‘Fiorucci Made Me Hardcore‘, plus musician and artist Lorenzo Senni and artist Theo Burt.

Elements of Light: Pantha du Prince & The Bell LaboratoryHAU1 / 30.1.13 & 31.1.13 / 20.00(Although possibly already sold out…)

Pantha du Prince play two shows off the back of their very recently released critically acclaimed album Elements of Light.

Berghain / 30.1.13 / 20.00

Experimental music platform Pan (run by Berlin resident Bill Kouglias) will showcase a “fascinating wealth of works accross genres, generations and scenes”. The UK-heavy lineup includes Mark Fell, Jar Moff, Lee Gamble, Call Super and Heatstick.Science of SyntheticsBerghain / 31.1.13 / 20.00Featuring much hyped experimental electronic composer Holly Herndon (see a recent interview with the Quietus), Canadian producer D’eon, Kuedo, Forest Swords, MFO plus recent Don’t Panic mix-contributor Cell of One.Caustic NeverlandBerghain Kantine / 31.1.13 / 20.00A night of metal-tinted acts featuring danish punk phenomenon Iceage, Berlin’s Reliq, and Wife (the project of Altar of Plagues singer James Kelly) and New York’s Oneirongen. Check this article for an insight.

Consequences HKW / 31.1.13 / 21.30 Premiere of a new audiovisual performance by People Like Us, aka artist Vicki Bennet, (the first artist to ever gain full access to the entire UK’s BBC archive) of collaged/composed elements of found footage.

The Monadic Many HAU1 / 1.2.13 / 20.00 A night of “disturbed slow dance” with Dean Blunt (one half of Hype Williams), alongside multi-instrumentalist Xiu Xiu & Eugene S Robinson.

Coded Narratives HKW / 1.2.13 / 21.30 An opportunity to see Manchester’s DJ legend A Guy Called Gerald, with visual and interactive elements by artist Vanessa Ramos Velasquez.

Rave Undead II Berghain / 1.2.13 / 23.00 In its second part, Rave Undead takes residence in Berghain with a lineup of rave-influenced or relevant producers including Andy Stott, Conor Thomas, Samuel Kerridge, Shed, Evol, Powell Mark Archer and Lower Order Ethics.

The Midas Touch/#Ghashtag/ Purge Stattbad / 2.2.13 / 23.00 Taking place in different rooms within Stattbad Wedding, this is set to be the festival’s biggest party with sets from the likes of Mykki Blanco, Simian Mobile Disco, Skream, Anika, UZ, Blackblackgold and many more.

In this month’s pack you’ll find a limited edition floorplan of Berlin’s legendary art book shop Pro-QM.

We asked them to make us their top current recommendation from the store.

The Other Berlins

“What’s in a name? That which we call a rose by any other name would smell as sweet.”

But do other places with the same name retain anything of the imprint of the original by being called the same? There are at least eight towns called ‘Berlin’ in America, here provided is some useful information about each…

Berlin, Connecticut

Founded in 1659 is the oldest of the Berlins. In this year Richard Beckley ‘purchased’ (read ‘stole’) 300 acres from a certain Chief Tarramuggus.

In modern day Berlin you need official permission to burn things, this can be requested from the Public Works dept, Room 8.

Berlin is lucky to have a Senior Centre Bus that provides transportation for its senior residents.

Berlin Water Control will be flushing fire hydrants beginning May 12th. Please excuse any inconvenience caused by this annual maintenance.

Berlin, Massachusetts

Founded in 1812 as a centre for shoe-making after the civil war it later moved into ‘speciality market gardening’ sending 41, 000 bunches of asparagus to market in 1885. Not sure things are still going so well for the town whose website, rather ambiguously, states “Today Berlin is a pleasing mix of past and present. It continues to embrace its traditions as it cautiously sets in motion (unspecified) plans for its future”

Spelling difficulties are a problem here amongst residents struggling against shrinking gene pool. Population is 2680. Build a Birdhouse Contest is sponsored by the Fiends of the Library. But the local church does what it can: June 3rd is Pizza Night, Wednesday mornings is Hymn Discussion Group  and May 29th is the next ‘Ice Cream Social’.

The ‘Berlin Art & Historical Society’ has an online shop that offers the following:

Afghan – $45:00

Pillow – $35:00

Note Paper – $5:00

History of the Town of Berlin, published 1895 – $60:00

Berlin, New Hampshire

Founded in 1829 this is ‘The City That Trees Built’, sounds like an acid flashback but is in fact reference to Berlin’s semi-illustrious past as a pulping and paper-making centre.

There are currently some job vacancies in Berlin that might be of interest to some readers: The Mountain View Resort and Spa is looking for a Night Auditor and a Licensed Alpine Sled Attendant. White Mountain Community College is seeking an Assistant Professor for its Automotive Technician course. And Walmart is looking for a Pre-grad Intern, details available on request.

The city has a population of 10,331. This includes 19 African Americans, 3 Vietnamese and 1 Korean. Of this 10,331 a healthy 18 take the bus to work and 15 travel by bicycle. 16 residents of Berlin live in permanent mobile homes.

Berlin, New Jersey.

This town of 7,909 residents proudly bears the motto ‘Long-a-Comin’… famed not only for the virility of its men-folk but also for its beautiful walking trails, ball fields and playgrounds. It is a self-proclaimed ‘Upper-Middle Class Community’ (i.e. white).

The town of Berlin is also seeking an individual for an animal census for the months of May and June. Applicants must have a valid drivers license and must be in good standing (meaning sober?). Vehicle will be provided.

Berlin, New York

Founded in 1806 it straddles the river Little Hoosick by Kinderhook Creek. And it does seem to be a place of extraordinary names, to name some of those which appear in the diligent and dull account of Berlin’s local history: Sirneon Hymns, Ebenezer Weak, Joe King, David Burndick, Eliphalet Johnson, David Davis, Sam N. Sweet, Hezekiah Hull, Jabez Bentley, Northrup A. Northrup, William Whyland, Nettie Lampfear, Silence Case, Rev. Justus Tew and the Rev Iman Eaton…

Berlin, Pennsylvania

Famed for its ‘historical storage buildings’ and the rather sinister sounding ‘genealogy building’. The Berlin Historical Society puts out a quarterly journal entitled ‘Memos’. The latest edition includes a report from The Cemetery Committee, A Very Brief History of the Berlin Evangelical Church, an account of the famous miller John Deeter ‘Frosty Son of Thunder’, a photo of The Black Frost in 1859 and a recipe for Lepcockae.

East Berlin, Pennsylvania

Population 1,400 it hosts a ‘regionally famous Colonial Day’. It seems to be the only one of the Berlins that was actually founded by a German. John Frankenburger from Prussia purchased 200 acres from Richard Penn for which he paid 28 pounds on May 8th 1764. He laid out a town with 1 main street, 4 cross streets and five alleys and called it Berlin after his home town. By 1880 East Berlin had 243 taxpayers, 72 horses, 33 cows, 63 ‘pleasure carriages’, 14 acres of timber and 9 gold watches.

Unlike all the other Berlins, which mostly it seems came after the founding of the original Berlin in 1244, this East Berlin preceded the East Berlin that became capital of the DDR after the second world war. This East Berlin became East Berlin as far back is 1827 to distinguish it from the other Berlin already in Pennsylvania.

Berlin, Vermont

This Berlin was not even named after Berlin, Germany. It was named after Berlin, Pennsylvania to which it does seem to bear uncanny similarities, as all the Berlins of the USA do to each other. Set on the banks of the Onion River, Hungarian Composer Bela Bartok once stayed here. Interested readers can purchase an online copy of the history of Berlin: ‘A Place to Pass Through: Berlin, Vermont 1820-1991’

And for any of those who may be concerned (or those with a non-professional interest in witch-hunting) the Berlin Emergency Team has an email group to better keep you informed of emerging situations and dangers facing the town.

Inhabitants of all the world’s Berlins may be interested to know that the name Berlin is of unknown origin, but it believed to originate from the areas former West Slavic inhabitants and be related to the Old Polabian word for ‘swamp’.

We select our top moments of sartorial splendour on film.Wild at Heart (1990)“This is a snakeskin jacket and for me it’s a symbol of my individuality and my belief in personal freedom” proclaims Sailor Ripley in David Lynch’s Wild at Heart. And boy, does he know how to wear his statement piece of couture – with tight, tight jeans and a southern drawl smoother than Elvis’, of course. No one messes with shooting, smoking, speed metal-loving Sailor, and no one should EVER tell him he looks like a clown in his snakeskin jacket. In fact, we hope no one has ever made a similar comment to Nicolas Cage, because it’s his jacket, and we all know what happens when Nicolas Cage loses his shit.

Paris, Texas (1984) Who can forget the haunting image of Jane (Nastassja Kinski) under the sleazy, sullen blue lights of the peepshow room wearing THAT fuchsia, backless dress in Paris, Texas? The soft angora gem – perhaps a nod to her delicate disposition – worked a dream with her high-octane, honey-coloured bob and heartbroken demeanour.

A Bout de Souffle (1960) Godard once mumbled in his Gallic tones that all you need to make a great movie is “a girl and a gun”. True, but very well-dressed girl at that. Cue Patricia, the doe-eyed flirt flying the proverbial flag for gamine chic and inducing serious outfit envy in A Bout de Souffle. Whether parading up and down the Champs-Elysées in a New York Herald Tribune t-shirt and black cigarette pants or seducing her felonious lover Michel with her delightful fifties dresses, adorable elfin crop and kitten-flicked eyes, Patricia takes the cake for her American spin on timeless Parisian style.

Grey Gardens (1975) Edie Bouvier Beale, faded socialite and close relation to Jackie O, brings new meaning to the expression “all dressed up with nowhere to go” in the documentary Grey Gardens. Despite the crumbiest of existences, Edie displays a dedication to glamour that is most honourable – dressing to the nines everyday in glossy furs, headscarves and skimpy bathing suits to roam her ramshackle Hamptons house and soak up the East Coast sun in her post-apocalyptic garden. Lolita (1997) In the most recent film adaptation of Nabokov’s novel, often described as a “beautiful portrait of a paedophile”, was it Dolores Haze’s playful and provocative style that got Jeremy Irons all hot under the collar? Who wouldn’t be intoxicated by her whimsical look – all frilly crop tops and cherry lipstick, swiss braids and bubblegum. Don’t get us wrong, Lolita was definitely a nubile young woman, but it does make us wonder, would he have fancied her had she been clad like a nun? No, probably not. Annie Hall (1977) Woody Allen had such faith in Diane Keaton’s taste that he left her to her own devices to style Annie, which she did with clothes from her own closet. Although a vulnerable and neurotic character, Annie’s clothes said very different; dressed in her staple fedoras, waistcoats and ties, often layering with one piece too many but doing so with brazen confidence, Annie’s masculine and oversized aesthetic screams chutzpah. Proof if you ever needed it that you don’t have to bare flesh and embrace feminine shapes to be sexy. Word up Annie.

Gummo (1997) With Chloe Sevigny in charge of costume design, Gummo was always going to be a winner. Amongst the wacky denizens of the backwater town of Xenia, Ohio, it’s the efforts of image-obsessed Dot (Sevigny) and her sister Helen that stand out the most. The two pour all their energies into experimenting with extreme sartorial styles; not content with having peroxided their mullets within an inch of their lives, they shave their eyebrows and tape their nipples, creating a strong and captivating look that can only be described as ‘albino chic’.

After coming to help tear it down over 20 years ago, David Hasselhoff returns to Berlin tomorrow to help save the longest remaining section of the Berlin wall from destruction. ‘The East Side Gallery’, adorned with works of artists from all over the world, is now under serious threat of being removed and replaced luxury apartments and new footbridge at the hands of international developers. Here’s to hoping the Hoff can work his same magic this time round, the other way round. See what he has to say about it below:

Ed Davenport is an English-born DJ and producer residing in Berlin. Since 2006 his diverse output of electronic music on labels such as NRK, Falkplatz, liebe*detail, and Polytone has received critical acclaim accross the board. Earlier this year he released his full-length album Counterchange on NRK, further cementing his reputation as a bold and independent voice in dance music. We caught up with Mr. Davenport during his travels to Vilnius, Lithuania.

Ed Davenport is in town to play one of Lithuania’s best underground clubs Opium. We meet in the restaurant below the club. Somewhere in between beer, red Thai curry and a short discussion on abstractionism we also speak about his love for writing, graphic design, his interest in planes, cooking—namely Asian and Italian—and of course music.

Ed is a tall and elegant man. He seems relaxed and comfortable with who he is. He tells me he started DJing in a tuxedo, playing drum & amp;bass and rave records at his school leaving do—”I thought I was cool, I was not” he says. Acting or looking cool doesn’t seem to be high up on the priorities list for Davenport; “I guess I am just not very Rock and roll, I am serious about it, I try not to be, but I am.”He is also genuinely considerate and polite. The restaurant is rather loud and lively. Ed kindly suggests that I test my equipment and see if I can hear him ok in these conditions. He tells me that in his teenage years he once interviewed a DJ for a local publication and made the classic mistake of forgetting to turn the voice recorder on. Career as a journalist didn’t take off, but to this day he still really enjoys writing.When you hear Davenport’s music you can undoubtedly see the reflection of his love for art and writing. The album Counterchange has an evident concept and even a narrative to it. He is conscientious and precise with his sounds, it all seems thoughtful. Perhaps even too thoughtful. Nevertheless, this attention to detail is what really sets Ed Davenport apart from the others.How much of your creative process is intuitive and how much of it is logic driven?” I have to switch the thinking side off in order to make the track, more or less stop thinking and just jam and experiment, the best things are born out of the moment of experimentation, and then, afterwards normally i have to come back and think about it critically, i am always very critical about my own music, i never release anything that i am not sure about, even if there is one or two elements that i don’t like and i can’t figure out how to fix them, i won’t do anything with that track, i just scrap it, so there’s always hundreds of unfinished projects just lying around. Sometimes i can reuse things or i finally figure out how to fix it. So you have an idea, you record it and then it’s a bit like doing surgery.”

What was your favourite venue to DJ so far?

“It has to be Berghain / Panorama Bar, the sets are long, you can really take you time, experiment.”

What expectations you have for tonight ?

“I am not sure, but I heard good things from a friend who has played here last year, he told me it was one of the best gigs he had.”

At the club the nights hosts Loranas Vaitkus & Hallucin are playing deep Detroit sounds and the dance floor is nicely occupied. Ed Davenport goes on to do his thing, it takes a few records and not long before the crowd is hooked. Midway through the set hands indicating a sign of heart appear. Ed goes on to play broad and meaty base delicately seasoned with old school UK flavors and ends up with some serious underground techno records. The set turns out to be mean and roaring but as neat Davenports shirt.

What was your impression of the night?“I had mixed expectations before my gig in Vilnius. Normally its a bit hit or miss when playing in a new venue, and a new city, for the first time. Sometimes it can be hard work to bridge the gap between the dj and the crowd, and hard to judge what kind of music they’re into, but the gig at Opium club turned out rather nicely. The crowd were very excited and up for raving to some (in the end) pretty tough, underground techno. So I was happy.”What are you up to next?“I have finished building my studio in Berlin and starting my own label Counterchange Recordings.”And the future? Really far in the future? What else is there to come for us humans? There are books written more than 2500 years ago that we still read today, can music recorded today handle such tests of time? Let’s say in another 2500 years. What it will be like then?‘That’s a long time, but yes, there is more to be done with sound than what we have already achieved, the technology is going to develop, but it would be cool if real instruments would be used again more too’ or  ‘maybe we go back to the original sounds of drums…It has never really left, people love it, so perhaps we will carry on with that…and we all still going to be alive then, right?”

When wet I crinkle like a sun-dried fruit, Yet am softer that a peach when dry. I fit better than any tailored suit, Yet worn alone I’m an offence to some eyes. What am I?

Style is more than just what you wear, it is an attitude, which means that it applies just as much to when one is wearing nothing at all as when one is decked in tailored cloth. So here are some suggestions on how to wear the most important suit of all…. your birthday suit, i.e. the one that sees you naked as the day you were born.

The invention of nakedness as an abnormal state begins with Adam and Eve. But it should be noted that Eve’s mistake was to eat of the tree of knowledge, it was not called the tree of shame, or the tree of ‘shit I forgot to put some clothes on this morning’, so really its more about knowing what you’ve got and knowing how to flaunt it appropriately. Though Adam and Eve’s first impulse in this regard was rather questionable:

‘And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves together, and made themselves aprons.’ (Genesis 3:7)

Aprons? Perhaps not. And any self-respecting seamstress knows that fig leaves are a bitch to stitch.

The rules of nakedness stink of hypocrisy whichever way you spin them. Some orifices must be covered and not others, what about our mouths and ears? Women’s breasts are a no-go but no one blinks twice at a topless man. Are we covering all the parts that scream of sex to protect against impromptu street orgies? Surely everyone knows that what inspires desire is the secret thought of what is hidden from view, not what is plain to see.

One must begin with hair, it is the body’s natural adornment and can be worn and enjoyed for its own sake. You can grow your own fur stole if you choose. Lady Godiva set a simple and elegant example for how best to wear hair. Letting it cascade down from her head and over her nakedness like an upside down dress. Of course if you find that you own hair doesn’t stretch to nipple, let alone to genital regions then a wig will suffice, though you are warned that nylon hair is itchy and highly flammable.

Salome really understood the principle that the promise of nakedness is always more powerful than the reality. She took seven simple veils to cover herself and then removed them one by one. So effective was this subtle strip tease it could drive men to murder for her… as John the Baptist was to discover when she requested his head on a plate.

One’s nakedness can also be complemented by one’s environment. You can literally ‘wear’ the room. Conveniently placed pot plants can double as fig leaves as long as one keeps well away from any thorny bits. Ambient lighting goes a long way, creating shadows that hang seductively over the body’s folds, though the more prudish will always opt for lights out. Then there’s always the option of the blindfold, let the hands become the eyes…

If you are running to the door to let the gasman in then grab the nearest pet… cats work best for this, though care should be taken with their claws.

Then there’s body-paint; spray on clothes are a bit no-no, they make you look like a vicitim of nuclear fall out, like a pair of cheap denim trousers melted right into you. Some people like to go for the sprayed gold look which is better. Though a warning to any solvent-happy can fans… the skin itself is an organ, and thus needs to breathe, you must leave a window of unsprayed skin else you will end up like that poor girl in Goldfinger.

Last but not least there is the nude body stocking, de-sex yourself like a Barbie doll and walk the streets proudly, because who can really complain if they can’t actually see the bits that matter? Some people like to take it that little bit further and go for the nude-coloured Zentai suit but this can end up looking a little like Barbie factory-reject, or a dildo costume.

Hip Hop hasn’t seen an artist like Mykki Blanco. The first press wave hit with an introduction as a transgendered rapper along with the gay hip hop scene and artists like Zebra Katz, Le1f, and House of LaDosha storming out of New York. Get further into Mykki’s persona and you’ll find a poet first and foremost, with a published book entitled From The Silence Of Duchamp To The Noise Of Boys released with Opening Ceremony last year. On stage Mykki’s performance style is mixed with aggressive lyricism, industrial beats, psych-rock, hip hop and occasional goth drag designed to shock.

Now a few months into the furious tour, the initial hype surrounding Mykki’s drag persona may be winding down, but you’ll keep seeing Mykki boy and Mykki girl as the multi-faceted performance artist continues to break barriers. Catch the next Berlin show at the CTM 13 party at Stattbad Wedding on 2nd Feb.

You’ve always gone by Micheal David Quattlebaum Jr.,when was Mykki Blanco born?

The Mykki Blanco things just came about through my own sexuality and then I decided to perform as Mykki. And then when I realised that it peaked people’s interest even more that I was in a completely feminine attire yet was producing this super theatrical rock n’ roll rap show, I think all those elements really locked people in. I’m really glad that I’m starting to receive this attention while I was still doing ultra feminine performances. It’s important to me that people realise that it is versatile. You’re going to see Mykki in an expensive dress, maybe you’re not. I didn’t want gay people to think that I’m changing to become more commercial, that’s why early on I said that I need to do my next two videos as a girl and boy. You have to understand that it’s going to be both because that is what makes me successful.

Do people know you were a poet before you started to rap?

14 is when I started doing poetry readings and really taking the role of a poet seriously, which no one takes seriously like I do. There are writers that I definitely look to like Pablo Naruda, Sylvia Plath, Bob Kaufman. These are all people that I consider amazing writers and they all have a hint of magical realism. With publishing my book of poems From The Silence Of Duchamp To The Noise Of Boys, I just really wanted to tell all the stories that I had been collecting. That’s just what makes a rich creative life accessible to other people when you’re willing to share what you’re learning along your journey.

There’s this hyper-charged aggression that comes out of you when you’re on stage, what do you consider when you’re up there?

To perform to beat-based music, but have the energy of a punk is what makes my live show unique and it’s what I’ve built my showmanship on. Even though I’m rapping I’ve constructed everything in a way that it’s kind of like a shock rock show. I’m very very theatrical when I’m on the stage . There are moments when I do rap monologues, freestyle. In a song like ‘Join My Militia’ I’m at my most dramatic. For me it’s like moving, moving, and moving, taking little breaks when I can with each interlude, not taking too long of a break making sure I have enough breath control. I model my performance after someone like Tina Turner or Iggy Pop, or GG Allin, or Beyonce, the kind of performers where it’s just them on stage, but that’s enough. That’s what I try to work towards all the time, pushing my own limits.

Do you always perform in drag?

Sometimes when I perform as Mykki, I’m not going to perform in feminine drag, sometimes I like to do goth drag. You’re never going to see me in a white chain and a gold t-shirt, but as my mood changes there are times when I would have been in a dress, heels, and lipstick all day and then I have the show and I don’t feel like being dressed in heels, and I just feel like painting black around my eyes and a bloody mouth and looking like black metal.

Has New York been a good place for you?

Cartouche is a new German language fanzine and blog based out of Berlin with focus on fashion, music and art, and featuring pieces by contributors to Spex, Electronic Beats and No Fear of Pop. It can be ordered online, read on Issuu or found at one of the Cartouche events, always host to a strong lineup of newcomer acts. The last event at Antje Öklesund was our first experience of the collective, and marked the launch of the third issue, featuring music from Dan Bodan and Yule FM. We asked them a few questions about it:

What’s the idea behind Cartouche?

Our aim is to give a platform to young and talented people we like. Besides international bands and phenomenons we focus on the Berlin scene, since we feel that this place is so vivid and dynamic. We want to give an alternative to most of the German print magazines that lost their ability to filter out things that matter and inspire. We consider CARTOUCHE an independent filter for young people loving music, fashion & design. We like printed magazines a lot and want give this medium the standing back it once had. A well laid-out magazine with a good selection of topics and well-taken pictures is still the best way to explore the world. You can hold it in your hand, feel the paper, smell the ink, rip out pages and put them on your wall. In short: it is its own experience.

Can you tell us what’s in this issue?

In our current issue we’ve got some amazing people, like the Canadian musician Dan Bodan, the young talented designer Regina Weber, the photographer Matthias Heiderich and pop duo Nadine and the Prussians. These are people that deserve a bigger audience for their great work. People that just started doing their own thing, people that come from Berlin. People that are our friends.

Where can we find it?

On our blog and at our parties. We still have some copies left, so come to Das Gift on March 23rd! And our back issues are available here.

What’s planned for the next issue?

we want to get more people involved. We want CARTOUCHE become a network where people can participate easily and find people to share their ideas with. We love collaborating so if you’d like to join us, don’t hesitate! Speaking about topics such as: Dagobert is pretty hot! Yule FM too! Maybe there will be some poems and texts about literature in the next one. Doing our second fashion editorial is definitifely on the radar, too! Stay tuned!

Hailing from Amsterdam and living in Berlin, jewellery designer Nhat-Vu Dang’s unique playful designs take on a humorous, interactive element beyond the more traditional reflections of worth, sentimentality, exclusivity and glamour.

Functioning as wearable kinetic sculptures, the Momentary Jewelry collection is made almost entirely out of cardboard, with comical features that include a confetti-throwing mechanism and pop-up blocks of neon colour. The pieces were created for his final graduation at the Gerrit Rietveld Academie academy in Amsterdam, and are a refreshing reconsideration of the function of fashion accessories, and distinctly different from any we’ve seen before.

As a progression from the project Nhat-Vu has just launched his ACTIVATE! line, adopting similarly unexpected elements. Employing transparent and reflective materials, this line emits subtlety and mystery by obscuring bright colours to make the object appear to glow or float. Intrigued by his distinct approach, we asked him some questions about his curious, shape-shifting work. Also worth noting that Nhat-Vu is an identical twin with a sharp eye for photography — check his collaborative website with his brother Dang-Vu at danandnad.com.

How did first find yourself first making  jewellery?

When I was in my first year of the Gerrit Rietveld Academy in Amsterdam I felt the desire to wear jewellery. But I couldn’t really find anything that would suit me in any shop, so I started making my own rings. They were very minimal off-white rings made out of stoneware. People kept asking me where I got them from so eventually I made and sold several. At this point I still had no idea that something such as really contemporary jewellery existed, let alone that one was able to study it. I initially wanted to become an illustrator, animator or fashion designer. Until I met my friend Noon Passama who introduced me to the jewellery department. What attracted me was how much freedom the students had to explore and experiment, the diversity and possibility to work with so many different materials. For example, it was the only department one could melt and hammer metal, copperplate, enamel, and emboss.

Where did the idea for your Momentary Jewelry collection come from?

It was completely coincidental. I was on my way to the academy, I stepped into the metro and saw this little boy stare at a grumpy looking old man with a bushy beard and heavy eyebrows. When he finally noticed the little boy staring at him, he started to stare back, expecting the little boy to look away. But the little boy kept staring. So after he felt like he couldn’t win the staring competition, the old man stuck out his tongue and they both burst out in laughter!

Are there any other jewellery designers or artists you find yourself particularly drawn to?

I usually get inspired by artists and designers outside the jewellery field. To name a few, artists like Claudia Comte whom does big and graphic installations, Gary Webb’s colourful sculptures, Nathalie du Pasquier’s paintings, Uta Eisenreich’s photographs and designers like Rei Kawakubo and Nicholas Ghesquiere whom are always inspiring when it comes down to choice of materials and the experimentation in shape and proportion.

As for jewellery designers I really admire the technical skill of Felix Lindner, the simplicity of Marc Monzo’s pieces, the whit of Alexander Blank’s jewellery, the colours that Jantje Fleischhut uses and the way Noon Passama manages to combine fashion and contemporary jewellery.

The designs of Momentary Jewelry seem to encourage play and social interaction, have you tested them out in this capacity?

I’ve worn one of the cardboard brooches out once while doing groceries, the one where a neon-coloured tongue flashes out with every step you make. I was very nervous and self-conscious though, since I didn’t know how people would react, or if they would react in a negative way (I would’ve been screwed because it was my graduation project and I was very behind). But I got a lot of smiles out of people, and some made quick remarks while passing by (all positive!), and the kids absolutely loved it. I also let a lot of people wear them when I exhibited for the first time, and people would start to hopscotch, bounce or walk in an exaggerated and self-confident way. They’re so focused on making the effects happen that they totally forget about the people around them. For a moment they let their guards down, a carefree moment when other people can see a glimpse of their inner joy.

Do you think your time living in Berlin affected your designs at all?

I wouldn’t say directly, but there’s no doubt that Berlin has been very stimulating and has a lot of input. Living here has definitely enriched my life. Before I moved here I didn’t visit exhibitions as often as I do now and I had never been to the theatre before I came here. It’s all very inspiring, although most of the time I just allow the experiences to drift away into my subconscious and hopefully they’ll find their place in the future, in the pin of a brooch or clasp of a necklace.

What are you working on next?

My plan is to continue working on my latest project called ACTIVATE!. I just showed 13 pieces at Galerie Rob Koudijs in Amsterdam. It’s a collection of brooches which seem to float on your clothes and depending on what you wear, they radiate colour on to your garment. Necklaces made out of compartments that fit into each other so the wearer can customise the appearance of the necklace, and bangles that appear to float and radiate colour onto your wrist. I still have a lot of ideas for this project which I’m itching to realise!

Third wave thirteen-year-old feminism, 1996.

This short documentary was shot in California by film maker Michael Lucid while still at school 17 years ago, where he became acquainted with the so-called “Dirty Girls”. The all-female friendship group were  ostracised by their peers for their apparent reluctance to conform and—as rumour had it—wash, but reacted by distributing their strongly opinionated zines across school campus. It’s been doing the rounds recently, if you’ve not already seen it it’s an enjoyable trip…

If you missed Total Freedom‘s mind-expanding set at Chesters’ regular party Janus last month, check his recent 30 min Boiler Room session below recorded just a couple of weeks back. For those that don’t know, Total Freedom is an L.A-based DJ, artist, party curator and founding member of the Fade To Mind label. His DJ sets, mixtapes and remixes are a mad collisions of music and sound, with a tendency toward the macabre and a knack for obscure detail. Read more about his parties and background in this piece for Noisey.

Next time you have 20 minutes to spare we recommend these shorts directed by London-based photographer and director Tyrone Lebon. Both pieces are part of the ‘New American Noise’ series from production company Somesuch and Co, a project comprising of six 10-minute documentaries about emerging music in cities around the USA. The 8 minute piece ‘Atlanta Dream$’ is about Strip Clubs in Atlanta and their role in promoting up-and-coming rappers, and the 10 minute ‘SFV Acid’ is a portrait of Zane Reynolds aka SFV Acid, a musician based in San Fernando Valley, L.A.

Finding a comfortable nook between UK garage, soulful house and melodic pop, English sibling duo Disclosure have cracked a musical formula that has won the hearts of both the mainstream and dance fans alike, recently scooping both the number two spot in the UK single chart and topping its dance equivalent simultaneously. Now two years deep into their careers at just 18 and 20, Howard and Guy Lawrence have experienced a level of success that far exceeds the majority of their senior contemporaries, and they’ve taken to the attention like fish to water. Their enthusiastic response to their ever-growing fanbase has seen the recent launch of their “Disclosure Face” Facebook app, and the circulation of specially made masks at their gigs, spreading their sonic and visual identity far and wide beyond cyberspace. Their current world tour—featuring live bass, drums, keys and much banter from more outspoken elder brother Guy—was largely sold-out, further amplifying anticipation for their upcoming debut LP Settle, due to drop this June.

Amidst the hype, they cut a reassuringly well-mannered and down to earth pair when met up with prior to their Berlin show, arriving a few minutes behind schedule following a catch-up with their dad on the phone.

Am I right in thinking you’ve had a very musical upbringing?

Guy: Yeah definitely, our whole family is musical, they used to listen to music and play instruments all the time. Our mum used to make radio jingles and work in piano bars, and before that our dad was in a band with his friends, he used to play clubs and toured Canada for a bit, so they both made money from music for the first 20 years of their lives.

Does that mean you started making music together when you were very young?

Guy: No, we used to just jam and play instruments and stuff, but just because our parents used to get us playing music. I got my first drum kit when I was three.

Howard: We didn’t have similar interests in music, I was listening to really different stuff to Guy.

Guy: I just used to listen to hip hop constantly, from like the age of 12 or 13 up until now, and Howard wasn’t really into that at all. But we didn’t really meet musically until that kind of James Blake, Joy Orbison, Burial era.

Guy were you smuggling Howard into clubs underage?

G: No Howard’s never been clubbing. (To Howard) How many times have you been to a club for fun?

H: Two times, but for three years before I was allowed into clubs I was working in them. I don’t drink anyway so it’s alright.

G: There was no scene where we grew up in Surrey, I always used to go to Brighton. This was in 2008 and 2009, so I was watching Loefa, Mala DMZ, Scream, and Benga. Then I started going out and watch people like Joy Orbison, Floating Points and James Blake. I knew Howard wouldn’t like dubstep—I didn’t really, it was just fun to go out to and get mashed to—but when I heard those guys I was like, “Howard this is dubsteb but it’s actually quite good”, so we started thinking we should just make it for fun, and that’s how it started.

“White Noise” recently hit number two in the UK singles chart and number one in the dance chart, how has it felt to achieve that success so early in your careers?

G: Just weird man, because when we started out we just wanted to be an artist that someone like Oneman and Jackmaster would play in their DJ sets, we didn’t think we would ever change the charts or anything like that. But I guess not many people like us have fully vocalised songs, I think because we’re so into music on the songwriting side of things it made sense for us to write verse-chorus songs. I think as soon as you do that and you can do it relatively well, you just hit a much wider variety of people.

Your artwork of the hand-drawn face laid over photographs of yourselves and others has become instantly recognisable now, how did it come about?

G: Everything that’s happened with that face has been a complete accident. Our manager’s friend drew it for fun I think, and we needed something for artwork for our first single and we just liked it. I started pasting the face onto other people’s photos and girls I thought were hot, and now it’s become a thing. Then people Tweeted us saying we should make an app where they can use their own faces, so we did it. It’s been awesome, there are thousands of them, I think were gonna try do something with them for album artwork in the inlay of the CD. We’re trying to get an iPhone one as well.

How did you go about translating your music into a live show?

G: We’ve seen a lot of live shows, and there are a lot of people that are definitely live and using loads of really insane equipment, but all it really is is a man twiddling knobs and no one can connect with that. We wanted to try and let the backing track take care of the boring bits and then play the bits that people can relate to.

H: We want to get away from people doing that whole thing of saying they’re going to do a live show and then just having a laptop. I don’t really mind it but I wish they wouldn’t call it a live show, I wish they would just call it a laptop set. I think its more skillful to watch a DJ.

G: I don’t like it when people say they’re live and then turn up with nothing. We put a lot of effort into our shows. It’s people like us, SBTRKT, TEED, James Bake, that are all actually playing live, and that’s just one little thing that impresses us, if you put that effort into your live show it makes a lot of difference. I’d rather go watch an old school garage DJ with a bag of dubplates than a man using a laptop. That’s the other thing, we don’t claim to be good DJs at all, the live show is our thing, and then when we DJ that’s just for after-parties and fun. People would book us for shows and we were like “what are we going to play? How do you play dance music live to people?” So it was a weird process.

With UK Garage witnessing something of a comeback in the UK in past few years, how has it been for newcomers such as yourselves to play alongside the original forerunners?

H: Yeah definitely, we’ve become friend with people like Zed Bias, Todd Edwards, Kerri Chandler, and Artwork.

Anton Koovit is an Estonian typographer based in Berlin, and now the first to digitise the original font created for the U8 line. The typeface, originally created in the 1920s, was soon forgotten as an updated version replaced old signs and maps. However due to some remaining evidence Anton has been able to recreate the whole alphabet, described as a grotesque geometric German font. Since its release the typeface can be noted in various books, publications, posters and is available for purchase on his second website here. Hear an interview with the designer and learn some nerdy typographic facts about the Berlin underground from Radio Spätkauf’s show on the topic broadcast earlier this week.